PUBLIC    SPEAKING 

FOR 

NORMAL  AND  ACADEMY 
STUDENTS 


BY 
JAMES  WATT  RAINE,  A.  M. 

Professor  of  English  Literature 
in  Berea   College 


BEREA  COLLEGE  PRESS 
Berea,  Kentucky 


Copyright,  1909 

Copyright,  1915 

By  JAMES  WATT  RAINE 


PREFACE 

A  textbook  on  the  art  of  expression,  to  be  useful  to 
Normal  or  Academy  students,  must  be  simple  and  practical. 
Their  need  is  not  to  absorb  an  ambitious  system,  but  to 
learn  how  to  grasp  a  writer's  full  meaning  and  then  to 
express  it  to  the  audience  exactly,  vividly,  and  forcibly,  in 
a  manner  natural  and  easy  to  themselves,  and  pleasing  to 
the  listeners. 

In  selecting  a  textbook  the  teacher  must  usually  choose 
either  a  book  of  selections  which  outlines  no  course,  and 
suggests  no  method,  or  a  book  that  sets  forth  a  "system" 
which  one  can  scarcely  use  unless  he  has  studied  under 
the  personal  direction,  of  its  author. 

The  writer  believes  that  a  textbook  on  Public  Speak- 
ing ought  to  be  as  usable  as  a  textbook  on  Arithmetic. 
The  subject-matter  should  be  so  arranged  that  the  student 
can  be  assigned  definite  work,  and  know  how  he  is  to  study 
each  lesson.  This  book  attempts  to  supply  that  need,  and 
is  intended  to  be  intelligible  and  suggestive  to  teachers 
that  are  not  professional  elocutionists. 

For  more  advanced  study  the  student  is  referred  to 
"Principles  of  Vocal  Expression"  by  Chamberlain  and 
Clark.  I  should  count  it  great  success  to  do  for  the  pupil 
in  Normal  School  and  Academy  what  my  friend  and 
teacher,  Dr.  Chamberlain,  has  done  for  the  College  Student. 


[3] 


39394,^ 


LET  US  BE  FRIENDS 


One  of  the  first  problems  confronting  the  teacher  of 
Reading  and  Speaking  is  how  to  secure  in  the  student  a 
sense  of  freedom,  enthusiasm  and  enjoyment  while  speak- 
ing. "Enjoyment!"  exclaims  some  one,  "why,  it  nearly 
scares  me  to  death."  That  is  due  to  the  well-meant  blund- 
ers of  parents  or  teachers  in  your  earlier  years.  As  a 
child,  perhaps,  your  reciting  a  piece  was  shown  off  to 
admiring  friends.  Then  possibly  you  had  a  teacher  that 
told  you  to  learn  a  selection  and  recite  it  for  next  lesson; 
and  wrhen  you  recited  it  as  best  you  could  without  any 
suggestions  or  help,  the  teacher  began  to  point  out  faults, 
sometimes  even  making  fun  of  them.  No  wonder  that 
declamation  is  not  a  favorite  study. 

But  the  teacher  and  student  together  can  cure  this  pain- 
ful self-consciousness.  I  will  make  three  suggestions: 

1.  Never  speak  before  an  audience,  talk  to  them,  —  just 
as  you  would  if  there  was  only  one  person  present.    J>o 
not  think  of  the  audience  as  a  mass,  but  think  of  this  and 
that  person,  sitting  here  and  there,  who  have  come  to  hear 
what  you  have  to  say  to  them.     They  did  not  come  to 
criticize  and  censure;  you  may  always  feel  sure  of  their 
friendliness  and  appreciation. 

2.  You  are  speaking  to  these  friendly  people,  not  because 
you  have  superior  wisdom,  but  because  you  have  found 
something  that  interests  you,  and  you  think  it  will  in- 
terest them  also.    If  you  treat  them  thus  as  neighbors  and 
friends,  you  will  not  need  to  flatter  them  nor  to    fear 
them.     So,  forget  yourself,  and  what  folk  may  think  of 
your  appearance;  and  iix  your  mind  on  the  interesting  sub- 
ject that  has  been  a  pleasure  to  you,  and  let  yourself  enjoy 
telling  them  what  will  no  doubt  be  pleasing  to  them  also. 

3.  The  student  cannot  give  even  the  most  interesting 
selection  enthusiastically  if  he  must  keep  his  eyes  glued 
to  the  printed  page.    "Therefore,"  say  some  teachers,  "he 
must  memorize  the  selection."     But  memorizing,  besides 
taking  too  much  time,  also  hinders  freedom,  for  he  then 
keeps  his  mind,  if  not  his  eyes,  glued  to  the  words;  and 
instead  of  giving  himself  fully  to  his  hearers,  his  attention 

[5] 


is  focussed's6m£w.frerefback'in  his  brain,  where  he  is  care- 
fully remembering  one  word  and  sentence  after  another. 

The  best  solution  I  have  found  is  not  to  try  to  memorize 
(at  1'east  for  the  first  few  weeks) ,  but  to  spend  enough  time 
and  effort  to  get  the  incident  vividly  before  your  mind,  so 
that  you  can  see  the  whole  scene  with  all  its  details,  and 
then  give  it  to  your  hearers  in  your  own  words,  not  trying 
to  remember  any  of  the  author's  sentences,  but  giving  it  to 
your  hearers,  just  as  you  see  it,  and  be  sure  you  are  seeing 
it  all  the  time  you  are  giving  it. 

Following  this  plan,  it  will  be  better  to  begin  with  nar- 
rative selections;  those  that  tell  some  story  or  incident 
without  much  description.  Of  course,  it  will  be  easier  to 
begin  with  prose  rather  than  verse.  This  is  not  only  a 
good  substitute  for  memorizing,  but  when  you  wish  to 
memorize,  this  is  a  good  way  to  learn  selections  without 
falling  into  unnatural  cast-iro'n  tones. 

As  you  tell  the  story  again  and  again,  you  will  begin 
using  bits  of  the  author's  language  without  losing  your 
own  vividness;  and  gradually  you  will  substitute  more 
and  more  of  his  language  until  you  give  it  altogether  in  his 
words.  But  you  must  never  forget  that  it  is  not  so  impor- 
tant to  give  it  in  the  author's  words,  as  to  give  it  vividly 
and  enjoyably. 

You  will  notice  that  in  the  early  lessons  of  the  book,  the 
student  is  never  asked  to  memorize. 


[6] 


LESSON  I 


The  task  of  the  reader  is  twofold— to  get  the  thought 
and  to  give  it.  He  must  find  out  exactly  what  the  Author 
thinks  a'nd  feels;  when  he  has  fully  grasped  the  meaning 
and  put  himself  in  the  Author's  place,  then  he  must  so  ar- 
range it,  present  it  and  explain  it  that  his  hearers  will 
get  the  full  meaning  also.  His  task  then  is  (1)  interpret- 
ing the  Author's  thought,  and  (2)  delivering,  or  expressing 
the  thought. 

These  two  processes  are  very  different  and  equally  im- 
portant. The  Reader  gets  the  thought  by  means  of  printed 
words,  sentence  structure,  punctuation,  etc.  He  gives  the 
thought  by  means  of  spoken  words,  and  various  tones,  ex- 
pression of  face,  gestures,  etc. 

May  I  say  here  that  punctuation  is  to  help  you  in  get- 
ting the  thought;  when  giving  it,  pay  no  attention  what- 
ever to  the  punctuation.  It  is,  of  course,  impossible  to 
give  the  author's  meaning  to  others,  if  you  have  not  cor- 
rectly and  fully  gotten  it  yourself.  You  should,  therefore, 
never  begin  to  read  a  sentence  aloud  until  you  have  fully 
absorbed  its  thought  into  your  own  mind;  that  is,  never 
begin  to  give  out  the  author's  meaning  until  you  have 
finished  getting  it. 

To  master  the  author's  meaning,  it  is  necessary  to  get 
into  your  mind  everything  that  was  in  his  mind;  not  only 
what  he  thought  about  the  matter,  but  also  what  he  felt, 
and  the  impulses  that  stirred  him,  the  hopes  that  beckoned 
him,  the  motives  that  moved  him.  If  the  Reader  is  to  give 
the  Author's  meaning  fully,  he  must  put  himself  in  the 
Author's  place;  he  must,  as  'nearly  as  possible,  become  the 
Author. 

This  process  of  entering  into  the  life  and  soul  of  an- 
other man,  the  process  of  analyzing  the  Author's  thought 
and  meaning,  of  vividly  realizing  his  position  and  his  pur- 
pose, this  process  of  interpretation  calls  for  a  careful  ob- 
servation, quick  intelligence,  and  sympathetic  apprecia- 
tion. To  be  a  skillful  interpreter  of  the  Author's  meaning 
requires  every  faculty  of  the  mind  to  be  alert  and  under 

[7] 


perfect  control.  It  is  an  art  that  can  be  mastered,  but  only 
by  careful  and  constant  effort. 

After  the  Reader  knows  the  Author's  mind  so  thorough- 
ly, that  he  can  fully  and  truly  interpret  it,  he  must  face 
the  problem  of  transferrihg  the  Author's  thought  to  the 
hearers.  How  can  he  deliver  to  them  the  full  meaning  that 
he  has  himself  gained?  Delivery  is  the  process  of  com- 
municating the  thought  to  the  hearers  so  that  they  shall 
enter  into  the  Author's  heart,  understand  his  meaning  and 
see  from  his  point  of  view.  This  process  of  expressing  the 
thought  requires  thorough  control  of  your  instrument  of 
expression.  For  instance,  a  man  may  be  able  to  read  a 
piece  of  music  accurately,  and  yet  be  unable  to  play  it  on 
a  violin.  He  understands  what  he  wants  to  express,  but 
has  no  mastery  of  that  particular  means  of  expression,  no 
skill  in  the  use  of  that  instrument.  The  same  difficulty 
may  occur  in  speaking.  The  instrument  of  the  Reader, 
(or  Speaker)  consists,  of  his  voice,  his  face,  and  his  bear- 
ing. Body,  muscles,  nerves,  all  must  be  fully  and  instantly 
responsive  to  the  mind's  bidding.  If  a  Speaker  has  not 
mastered  his  instrument,  he  will  express  his  thoughts 
with  difficulty,  fail  to  give  the  impression  that  the  author 
intended,  weary  his  hearers,  and  contract  throat  ailments. 

In  this  course  of  study,  then,  you  are  to  learn  (1) 
Interpretation — how  to  understand  the  mind  of  the  author, 
how  to  get  his  point  of  view,  how  to  realize  his  situation, 
how  to  enter  heartily  into  his  purpose  and  appreciate  his 
feelings  on  the  subject. 

You  next  task  is  to  learn  (2)  Delivery — how  to  give 
this  to  others;  and  that  involves  (a)  the  right  way  to  use 
your  voice,  so  that  reading  and  speaking  will  be  easy  and 
pleasant  to  you  and  a  pleasure  to  your  hearers.  Kidd 
says,  "Ignorance  of  the  right  way  of  using  the  lungs  and 
the  larynx,  in  speaking,  reading,  and  singing,  has  caused 
more  cases  of  bronchitis  and  pulmonary  consumption 
among  students,  vocalists,  clergymen  and  other  public 
speakers  than  all  other  causes  combined." 

It  is  perhaps  equally  important  to  learn  (b)  the  right 
use  of  your  body  in  gesture,  that  you  may  convey  \\ith 
enthusiasm  the  whole  thought  and  feeling  to  your  hearers, 
and  not  merely  a  skeleton  of  it. 

You  are  now  ready  to  take  up  the  first  of  these  three 

[8] 


tasks,  namely,  to  train  yourself  to  interpret  exactly  and 
fully  the  mirui  of  the  Author. 

1.  Read  this  selection  carefully  two  or  three  times. 

2.  Shut  your  eyes  and  imagine  the  incident  as  it  hap- 

pened. 

3.  Tell  it  in  your  own  words,  without  looking  at  the 

book. 
(Practice  saying  your  exercises  aloud  in  your  own  room.) 

THE  PROVIDENTIAL  GUEST 

A  widow  at  Dort  in  Holland,  who  was  very  industrious, 
was  left  with  a  son  and  two  daughters.  She  lived  on  the 
edge  of  the  village  in  a  large  house  in  which  she  employed 
a  number  of  people  in  the  manufacture  of  sail  cloth  and 
was  supposed  to  be  worth  four  thousand  dollars. 

One  night,  about  nine  o'clock,  a  person  dressed  in  uni- 
form, with  a  musket  and  broadsword,  came  to  her  house  and 
requested  lodging.  "I  let  no  lodgings,  my  friend,"  said 
the  widow,  "and  besides  I  have  no  spare  bed,  unless  you 
sleep  with  my  son,  which  I  think  very  improper,  on  ac- 
count of  your  being  a  perfect  stranger  to  us."  The 
soldier  then  showed  a  passport  from  the  governor  of 
Breda  and  a  discharge  from  Diesbach's  regiment,  signed 
by  the  major,  who  gave  him  an  excellent  character.  The 
widow,  believing  the  man  to  be  honest,  called  her  son, 
and  asked  him  if  he  would  accommodate  with  a  part  of 
his  bed,  a  veteran  who  had  served  the  j^uihiic -..thirty 
years  with  reputation.  The  young  man  consented;  so  the 
soldier  was  hospitably  entertained,  and  at  a  seasonable 
hour  withdrew  to  rest. 

Some  hours  afterward,  a  loud  knock  was  heard  at  the 
street  door,  which  aroused  the  soldier,  who  moved  softly 
down  stairs  and  listened  at  the  hall-door,  when  the  blows 
were  repeated  and  the  door  almost  broken  through  by  a 
sledge  or  some  heavy  instrument.  By  this  time  the  widow 
and  her  daughters  were  much  alarmed  at  this  violent  at- 
tack, and  ran  frantically  through  different  parts  of  the 
house  crying,  "murder!  murder!"  The  son  joined  the 
soldier,  with  a  case  of  loaded  pistols,  and  the  latter  screwed 
on  his  bayonet,  primed  his  piece,  and  told  the  women  to 
stay  in  the  back  room  out  of  the  way  of  danger. 

Soon  the  door  was  burst  in  and  two  ruffians  entered, 
but  were  instantly  shot  by  the  sdn.  Two  associates  of  the 
dead  men  immediately  returned  the  fire,  but  without"  ef- 
fect: then  the  veteran  stranger,  taking  immedate  advan- 
tage of  the  discharge  of  their  arms,  rushed  on  them  like 
a  lion,  ran  one  through  the  body  with  his  bayonet,  and 
while  the  other  was  running  away,  lodged  the  contents  of 
his  piece  between  his  shoulders,  and  he  dropped  dead  on 
the  spot.  The  son  and  the  stranger  then  closed  the  door 

[9] 


as  well  as  they  could,  reloaded  their  arms,  made  a  good 
fire,  and  watched  till  daylight. 

When  the  weavers  and  spinners  of  the  manufactory 
came  in  the  morning,  they  were  struck  with  horror  and 
surprise,  at  seeing  the  four  dead  men  near  the  house. 
The  burgomaster  attended,  and  took  the  testimony  of  the 
family  about  the  affair.  The  bodies  of  the  ruffians  were 
buried  in  a  cross-roa^l,  and  a  stone  erected  over  the  grave 
with  a  suitable  inscription.  The  widow  presented  the 
soldier,  who  was  seventy  years  old,  with  one-hundred 
Builders,  and  the  city  settled  a  handsome  pension  on  him 
for  the  rest  of  his  life. 

REVIEW  QUESTIONS 

1.  Whom  do  we  mean  by  the  Author? 
Whom  do  we  mean  by  the  Hearer? 
Whom  do  we  mean  by  the   Reader? 
Whom  do  we  mean  by  the  Speaker? 

2.  Which  is  more  important  for  us  to  master,  the  process 

of  getting  the  Author's  meaning,  or  the  process  of 
telling  it  to  our  hearers? 

3.  Can   the   Reader   give   the   Author's   thought   to   the 

Hearers  if  he  has  mot  gotten  it  fully  himself? 

4.  Can   a  good   Reader   give   an  audience  more   of  the 

Author's  meaning  than  they  could  get  by  reading 
the  printed  words  themselves? 

5.  If  you  get  the  Author's  exact  thought  in  your  own 

mind,  will  not  the  communication  of  it  to  the  hear- 
ers take  care  of  itself? 

6.  When  a  person  speaks  to  you,  do  you  get  his  meaning 

through  your  ears  or  through  your  eyes? 

7.  Could  you  understand  a  man's  thought  from  his  ges- 

tures alone? 

8.  Could  you  understand  his  feelings  from  his  gestures 

alone? 

9.  Would  it  spoil  the  story  of  the  Providential  Guest,  if 

you  omitted  to  tell  what  the  widow  and  the  daugh- 
ters cried  out,  or  where  the  soldiers  told  them  to  stay? 

10.  Name  three  or  four  things  that  must  not  be  omitted 

when  you  tell  the  story. 

11.  When  you   imagine  the  scene  in  Dort,  can  you  see 

anything  that  is  not  mentioned  in  this  story?  What 
color  is  the  widow's  hair?  Is  she  a  large  woman  or 
small?  Did  the  soldier  wear  a  beard?  How  old  is 
the  son? 

[10] 


LESSON  II 


1.  Read  the  following  selection  carefully. 

2.  With  closed  eyes,  imagine  that  you  see  the  incident 

just  as  it  was  happening. 

3.  Tell   it  in  your  own  words  without  looking  at  the 

book. 

THE  CONSIDERATE  PHYSICIAN 

A  poor  girl,  who  had  just  recovered  from  a  fit  of  sick- 
ness, gathered  up  her  scanty  earnings,  and  went  to  the 
doctor's  office  to  settle  her  bill.  Just  at  the  door,  the 
lawyer  of  the  place  passed  into  the  office  before  her,  on  a 
similar  errand. 

"Well,  doctor,"  said  he,  "I  believe  I  am  indebted  to  you, 
and  I  should  like  to  know  how  much." 

"Yes,"  said  the  doctor,  "I  attended  upon  you  about  a 
week;  now  what  would  you  charge  me  for  a  week's  ser- 
vice? or  what  do  you  realize,  on  an  average,  for  a  week's 
service?" 

"0,"  said  the  lawyer,  "perhaps  seventy-five  dollars." 

"Very  well,  then,  as  my  time  and  profession  are  as  val- 
uable as  yours,  your  bill  is  seventy-five  dollars." 

The  poor  girl's  heart  sunk  within  her,  for  should  her 
bill  be  anything  like  that,  how  could  she  ever  pay?  The 
lawyer  paid  his  bill  and  passed  out,  when  the  doctor 
turned  to  the  young  woman,  and  kindly  inquired  her 
errand. 

"I  come,"  said  she,  "to  know  what  I  owe  you,  although 
I  do  not  know  that  I  can  ever  pay  you." 

"I  attended  you  about  a  week/'  said  he. 

"Yes,  sir!" 

"What  do  you  earn  a  week?" 

"Seventy-five  cents." 

"Is  that  all?" 

"Yes,  sir." 

"Then  your  bill  is  seventy-five  cents." 

The  poor  girl  paid  him  thankfully,  and  went  back  with 
a  glad  heart. 

1.  Master  the  meaning  of  what  Wolsey  says  below. 

2.  Write  it  out  in  your  own  words,     giving    Wolsey's 

thought  and  feeling  just  as  he  might  have  given  it 
in  other  words. 

[11] 


Caution:     Do   not   say,     "Wolsey   says    he   has     been 
foolish,"  etc.,  but  put  it  into  the  words  he  might  have 
used,  e.  g.,  "I  have  been  foolish;  like  rash  boys  that  cannot 
swim  I  have  gone  beyond  a  safe  depth/'  etc. 
3.  Practice  telling  it  so  as  not  to  omit  anything  impor- 
tant. 

Wolsey: 

Farewell,  a  long  farewell,  to  all  my  greatness! 
This  is  the  state  of  man: — today  he  puts  forth 
The  tender  leaves  of  hopes,  tomorrow  blossoms, 
And  bears  his  blushing  honors  thick  upon  him; 
The  third  day  comes  a  frost,  a  killing  frost; 
And  (when  he  thinks,  good  easy  man,  full  surely 
His  greatness  is  a  ripening)  nips  his  root, 
And  the;n  he  falls, — as  I  do.    I  have  ventured, 
Like  little  wanton  boys  that  swim  on  bladders, 
This  many  summers  in  a  sea  of  glory, 
But  far  beyond  my  depth:  my  high-blown  pride 
At  length  broke  under  me;  and  now  has  left  me, 
Weary  and  old  with  service,  to  the  mercy 
Of  a  rude  stream  that  must  for  ever  hide  me. 
Vain  pomp,  and  glory  of  this  world,  I  hate  ye; 
I  feel  my  heart  'new  opened:    0,  how  wretched 
Is  that  poor  man,  that  hangs  on  princes1  favors! 
There  is  betwixt  that  smile  we  would  aspire  to, 
That  sweet  aspect  of  princes,  and  their  ruin, 
More  pangs  and  fears  than  wars  or  women  have; 
And  when  he  falls,  he  falls  like  Lucifer, 
Never  to  hope  aarain. 

—Shakespeare's  Henry  VIII. 

1.  Read   the   following  stanzas   carefully;  look  up   any- 

thing you  do  not  understand. 

2.  Ima-gine   that  you   are  with  Wordsworth,   and  make 

yourself  see  everything  he  saw. 

3.  Write  out  fully  the  picture  you  have  in  your  mind. 

4.  Tell    tho    class    about   it,   using   Wordsworth's   words 

when  they  happen  to  come  into  your  mind. 

THE  DAFFODILS 

I  wandered  lonely  as  a  cloud 

That  floats  on  high  o'er  vales  and  hills: 

When  all  at  once  I  saw  a  crowd, 
A  host,  of  golden  daffodils, 

Beside  the  lake,  beneath  the  trees, 

Fluttering  and  dancing  in  the  breeze. 
[12] 


Continuous  as  the  stars  that  shine 
And  twinkle  on  the  Milky  Way, 

They  stretched  in  never  ending  line 
Along  the  margin  of  a  bay: 

Ten  thousand  saw  I  at  a  glance, 

Tossing  their  heads  in  sprightly  dance. 

The  waves  beside  them  danced;  but  they 
Outdid  the  sparkling  waves  in  glee; 

A  poet  could  not  but  be  gay 
In  such  a  jocund  company. 

I  gazed — and  gazed — but  little  thought 

What  wealth  the  show  to  me  had  brought: 

For  oft,  when  on  my  couch  I  lie 

In  vacant  or  in  pensive  mood, 
They  flash  upon  that  inward  eye 

Which  is  the  bliss  of  solitude; 
And  then  my  heart  with  pleasure  fills, 
And  dances  with  the  daffodils. 

— Wordsworth. 

REVIEW  QUESTIONS 

1.  Is  it  easy  to  imagine  a  scene  clearly  and  vividly  or  do 

you  have  to  fix  your  mind  on  it  with  effort? 

2.  Is  Wolsey  standing,  sitting,  or  lying  down  when  he 

speaks?    Is  he  young  or  old? 

3.  In  Wordsworth's, poem  is  it  a  clear  day  or  cloudy?    Is 

it  windy  or  mild?  Any  hills  in  the  picture?  Any 
houses?  Any  people? 

4.  Which  of  these  scenes  can  you  imagine  most  easily? 

Is  it  because  you  have  seen  scenes  similar  to  that? 

5.  Will  a  drum  give  a  crisp  tone  if  either  *of  the  drum- 

heads is  flabby? 

6.  If  the  body  of  a  violin  .is  broken,  will  it  make  any 

difference  in  the  tone?  If  you  stretch  violin  strings 
across  a  green  pumpkin  shell  will  you  get  a  resonant 
tone?  Can  you  tell  the  reason?  Would  soft  wood 
make  a  good  violin? 

EXERCISES 

We  cannot  here  attempt  to  study  the  physiology  of  the 
voice.  The  student's  attention,  however,  is  directed  to  a 
few  of  the  essential  facts.  The  human  voice  is  a  string  in- 
strument rather  than  a  wind  instrument.  The  tones  of  the 

[13] 


voice  are  produced  in  the  throat  by  the  vibrating  of  the 
vocal  chords.  They  should  vibrate  freely,  like  the  strings 
of  a  violin,  over  a  body  of  still  air.  To  give  the  vocal 
chords  free  play  the  body  should  be  held  erect  and  the 
chords  relieved  from  any  strain  caused  by  muscular  pres- 
sure or  unnatural  position.  To  secure  a  column  of  quiet 
air  the  chest  should  be  expanded  and  the  breath  inhaled 
and  exhaled  without  puffing  it  through  the  vocal  chords 
as  if  the  voice  were  a  sort  of  trumpet.  Hoarseness  and 
various  other  ailments  are  caused  by  neglect  of  these  two 
great  vocal  requirements. 

The  Exercises  should  be  practiced  faithfully  a  few 
minutes  every  day;  and  as  a  result  you  will  attain  to  a 
smooth,  pure  tone,  a  good  volume  of  sound,  and  ease  in 
speaking. 

1.  a.  Stand  erect,  heels  together,  with  the  arms  extended 

in  front,  at  the  height  of  the  shoulders,  palms  to- 
gether. 

b.  Spread  arms,  keeping  them  level  with  shoulders. 

c.  Return  front. 

d.  Repeat  eight  times. 

2.  a.  Stand  erect  with  arms  down  at  sides. 

b.  Raise  arms  sideways  to  level  of  shoulders. 

c.  Return. 

d.  Repeat  eight  times. 

3.  a.  Arms  down  at  sides. 

b.  Raise  arms  in  front  to  level  of  shoulders. 

c.  Return. 

d.  Repeat  eight  times. 

4.  a.  Arms  down  at  sides. 

b.  Slowly  raise  arms  sideways  till   they  meet  over- 

head, inhaling  at  the  same  time. 

c.  Slowly  return  arms  to  sides,  while  exhaling. 

d.  Repeat  eight  times. 


[14] 


LESSON  III 


The  first  thing  in  studying  a  passage  is  to  get  the  gist 
of  it,  to  find  the  Author's  main  thought,  to  grasp  his  mean- 
ing as  a  whole. 

1.  Read   and   re-read   the   following  until   you   get  the 

thought  completely. 

2.  Write  out  the  substance  of  it,  the  main  thought,  in 

twenty-five  to  thirty  words.    This  is  called  a  Con- 
densative  Paraphrase. 

3.  Condense  each  paragraph  into  ten  or  fifteen  words. 

THE  TRUE  KINGS  OF  THE  EARTH 

Mighty  of  heart,  mighty  of  mind — "magnanimous" — to 
be  this  is  indeed  to  be  great  in  life;  to  become  this  un- 
ceasingly is  indeed  to  "advance  in  life1'— in  life  itself— not 
in  the  trappings  of  it.  Do  you  remember  that  old  Scythian 
custom?  How,  when  the  head  of  the  house  died,  he  was 
dressed  in  his  finest  dress,  and  set  in  his  chariot,  and  car- 
ried about  to  his  friends'  houses;  and  each  of  them  placed 
him  at  his  table's  head,  and  all  feasted  in  his  presence. 

Suppose  it  were  offered  to  you  in  plain  words,  as  it 
is  offered  to  you  in  dire  facts,  that  you  should  gain  this 
Scythian  honor,  gradually,  while  you  yet  thought  your- 
self alive.  Suppose  th-3  offer  were  this:  You  shall  die 
slowly;  your  blood  shall  daily  grow  cold,  your  flesh  pet- 
rify, your  heart  beat  at  last  only  as  a  rusty  group  of  iron 
valves.  Your  life  shall  fade  from  you,  and  sink  through 
the  earth  into  the  ice  of  Gaina;  but,  day  by  day,  your  body 
shall  be  dressed  more  gaily,  and  set  in  higher  chariots,  and 
have  more  orders  on  its  breast — crowns  on  its  head,  if  you 
will.  Men  shall  bow  before  it,  stare  and  shout  around  it; 
feast  it  at  their  table's  heads  all  the  night  long;  your  soul 
shall  stay  enough  with  it  to  know  what  they  do,  and  to  feel 
the  weight  of  the  golden  dress  on  its  shoulders,  and  the 
furrow  of  the  crown  edge  on  the  skull — no  more.  Would 
you  take  the  offer  verbally  made  by  the  death-angel? 
Would  the  meanest  among  us  take  it,  think  you? 

Yet  practically  and  verily  we  grasp  at  it,  every  one  of 
us,  in  a  measure;  many  of  us  grasp  at  it  in  its  fulness  of 
horror.  Every  man  accepts  it,  who  desires  to  advance  in 
life  without  knowing  what  life  is;  who  means  only  that 
he  is  to  get  more  horses,  and  more  servants,  and  more  fur- 
CIS] 


niture,  and  more  public  honor,  and — not  more  personal 
soul.  He  only  is  advancing  in  life  whose  heart  is  getting 
softer,  whose  blood  warmer,  whose  brain  quicker,  whose 
spirit  is  entering  into  living  peace.  And  the  men  who  have 
this  life  in  them  are  the  true  lords  or  kings  of  the  earth — 
they,  and  they  only. — John  Ruskin. 

Study  Rock  of  Ages  and  write  a  condensative  para- 
phrase of  it  in  twenty-five  to  thirty  words.  This  para- 
phrase must  be  in  your  own  words.  Try  to  give  all  the 
explanations  needed  to  make  the  meaning  quite  clear; 
so  that  all  the  questions  one  might  reasonably  ask  about 
this  or  that  word,  phrase,  or  clause,  will  be  answered  in 
your  paraphrase.  Not,  of  course,  in  question-and-answer 
form,  but  by  the  transparent  clearness  of  the  paraphrase. 
Try  also  to  express  the  same  feeling  of  reverence  and  grat- 
itude in  your  paraphrase  as  there  is  in  the  poem. 


Rock  of  Ages,  cleft  for  me, 

Let  me  hide  myself  in  Thee; 

Let  the  water  and  the  blood, 

From  Thy  riven  side  which  flowed, 

Be  of  sin  the  double  cure, 

Cleanse  me  from  its  guilt  and  power. 

Not  the  labors  of  my  hands 
Can  fulfill  Thy  law's  demands; 
Could  my  zeal  no  respite  know, 
Could  my  tears  for  ever  flow, 
All  for  sin  could  not  atone; 
Thou  must  save,  and  Thou  alone. 

Nothing  in  my  hand  I  bring, 
Simply  to  Thy  cross  I  cling; 
Naked,  come  to  Thee  for  dress, 
Helpless,  look  to  Thee  for  grace; 
Foul,  I  to  the  fountain  fly, 
Wash  me,  Saviour,  or  I  die. 

While  I  draw  this  fleeting  breath, 
When  my  eyelids  close  in  death, 
When  I  soar  to  worlds  unknown, 
See  Thee  on  Thy  judgment  throne, 
Rock  of  Ages,  cleft  for  me, 
Let  me  hide  myself  in  Thee. 

— Augustus  Toplady. 

[16] 


EXERCISES 

The  diaphragm  is  a  muscular 
membrane  that  separates  the  vis- 
cera from  the  lungs.  When  re- 
laxed it  has  the  position  shown 
by  the  black  line.  When  firmly 
drawn  down  as  shown  by  the 
dotted  lines  it  enlarges  the  waist 
and  thus  increases  the  size  of  the 
air  chamber.  When  the  dia- 
phragm is  thus  held  tense  it  gives 
a  clear  bell-like  resonance  to  the 
voice;  when  relaxed  the  voice 
will  be  muffy  (like  the  tone  of  a 
drum  when  the  lower  drumhead 
is  not  firmly  stretched.)  Obser- 
vation of  a  healthy  child  asleep 
will  show  how  prominent  is  the 
diaphragm's  action. 
First,  repeat  Exercises  1  to  4,  and  then  continue  with 

5.  a.  Place  finger  tips  on  upper  chest. 

b.  Take  in  a  full  breath. 

c.  Exhale,  while  pressing  with  fingers. 

d.  Repeat  four  times. 

6.  a.  Place  hands  on  abdomen. 

b.  Inhale,  stretching  abdomen  to  fullest  extent. 

c.  Exhale,  while  pressing  with  fingers. 

d.  Repeat  four  times. 

7.  a.  Place  hands  on  sides,  fingers  straight  out. 

b.  Inhale,  stretching  sides  out  against  hands. 

c.  Exhale,  while  pressing  with  palms. 

d.  Repeat  four  times. 

8.  a.  Place  hands  on  sides,  thumbs  front,  finger  tips  on 

loins. 

b.  Inhale  to  fullest  extent,  pressing  against  fingers. 

c.  Exhale,  while  pressing  with  fingers. 

d.  Repeat  four  times. 

Note:  The  chest,  or  air  chamber,  should  expand  in  all 
three  directions  at  once.  It  is  important  to  practice  Exer- 
cise 6  thoroughly.  In  stretching  the  abdomen  to  inhale, 
the  diaphragm  moves  downward  and  becomes  tense.  You 
will  soon  learn  to  contract  and  relax  the  diaphragm  at 
will  without  pushing  it  down  by  inbreathing. 


LESSON  IV 


1.  Study  Patrick  Henry's  speech  and  write  out  the  gist 

of  it  in  less  than  fifty  words. 

2.  a.  Condense  each  paragraph  of  the  speech  into  ten  or 

fifteen  words. 

b.  Read  over  these  eight  sentences  you  have  written 
and  combine  all  into  one. 

3.  Compare   this   with   your  paraphrase   of  the   whole. 

(No.  1.) 

1.  Mr.  President:  No  man  thinks  more  highly  than  I  do 
of  the  patriotism,  as  well  as  abilities,  of  the  very  worthy 
gentlemen  who  have  just  addressed  the  house.    But  dif- 
ferent men  often  see  the  same  thing  in  a  different  light, 
and,  therefore,  I  hope  it  will  not  be  thought  disrespectful  to 
these  gentlemen,  if,  entertaining  as  I  do  opinions  very  op- 
posite to  theirs,  I  shall  speak  forth  my  sentiments  freely 
and  without  reserve.    This,  sir,  is  no  time  for  ceremony. 
The  question  before  the  house  is  one  of  awful  moment  to 
this  country.    For  my  part,  I  consider  it  nothing  less  than 
a  question  of  freedom  or  slavery. 

2.  I  have  but  one  lamp  by  which  my  feet  are  guided; 
and  that  is  the  lamp  of  experience.    I  know  of  no  way  of 
judging  the  future  but  by  the  past.    And,  judging  by  the 
past,  I  wish  to  know  what  there  has  been  in  the  conduct 
of  the  British  ministry,  for  the  last  ten  years,  to  justify 
those  hopes  with  which  the  gentlemen  have  been  pleased 
to  solace  themselves  and  the  house?    Is  it  that  insidious 
smile  with  which  our  petition  has  been  lately  received? 
Trust  it  not,  sir;  it  will  prove  a  snare  to  your  feet.  Suffer 
not  yourselves   to  be  betrayed  with   a  kiss.     Ask  your- 
selves how  this  gracious  reception  of  our  petition  comforts 
with  those  warlike  preparations  which  cover  our  waters, 
and  darken  our  land.    Are  fleets  and  armies  necessary  to  a 
work  of  love  and  reconciliation?     Have  we  shown  our- 
selves so  unwilling  to  be  reconciled,  that  force  must  be 
called  in  to  win  back  our  love? 

3.  Let  us   not  deceive  ourselves,   sir.     These   are    the 
implements  of  war  and  subjugation — the  last  argument  to 
which  kings  resort.    I  ask,  gentlemen,  sir,  what  means  this 
martial  array,  if  its  purpose  be  not  to  force  us  to  submis- 
sion?   Can  gentlemen  assign  any  other  possible  motive  for 
it?    Has  Great  Britain  any  enemy  in  this  quarter  of   the 
world  to  call  for  this  accumulation  of  navies  and  armies? 

[18] 


No,  sir,  she  has  none.  They  are  meant  for  us;  they  can  be 
meant  for  no  other.  They  are  sent  over  to  bind  and  rivet 
upon  us  those  chains  which  the  British  ministry  have 
been  so  long  forging.  And  what  have  we  to  oppose  to 
them?  Shall  we  try  argument?  Sir,  we  have  been  trying 
that  for  the  last  ten  years.  Have  we  anything  new  to  offer 
upon  the  subject?  Nothing. 

4.  We  have  held  the  subject  up  in  every  light  of  which 
it  is  capable;  but  it  has  been  all  in  vain.    Shall  we  resort 
to  entreaty  and  humble  supplication?    What  terms  shall 
we  find  which  have  not  been  already  exhausted?    Let  us 
not,  I  beseech  you  sir,  deceive  ourselves  longer.    Sir,  we 
have  done   everything  that  could  be  done   to   avert  the 
storm  which  is  now  coming  on.    We  have  petitioned;  we 
have  remonstrated;  we  have  supplicated;  we  have  pros- 
trated ourselves  before  the  throne.     Our  petitions   have 
been  slighted;  our  remonstrances  have  produced  additional 
violence  and  insult;  our  supplications  have  been  disregard- 
ed, and  we  have  been  spurned  with  contempt  from  the 
foot  of  the  throne. 

5.  In  vain,  after  these  things,  may  we  indulge  the  fond 
hope  of  peace  and  reconciliation.    There  is  no  longer  any 
room  for  hope.    If  we  wish  to  be  free:  if  we  mean  to  pre- 
serve inviolate  those  inestimable  privileges,  for  which  we 
have  been  so  long  contending;  if  we  mean  not  basely  to 
abandon  the  noble  struggle,  in  which  we  have  been  so  long 
engaged,  and  which  we  'have  pledged  ourselves  never  to 
abandon  until  the  glorious  object  of  our  contest  shall  be 
obtained^— we  must  fight!     I  repeat  it,  sir,  we  must  fight! 

6.  An  appeal  to  arms,  and  to  the  God  of  hosts,  is  all 
that  is  left  us.    They  tell  us,  sir,  that  we  are  weak,  unable 
to  cope  with  so  formidable  an  adversary.    But  when  shall 
we  be  stronger?    Will  it  be  next  week  or  the  next  year? 
Will   it  be  when  we  are  totally  disarmed,  and  when    a 
British  guard  shall  be  stationed  in  every  house?     Shall 
we  gather  strength  by  irresolution  and  inaction?     Shall 
we   acquire   the   means   of  effectual   resistance   by   lying 
supinely  on  pur  backs,  and  hugging  the  delusive  phantom 
of  hope,  until  our  enemies  shall  have  bound  us  hand  and 
foot? 

7.  Sir,  we  are  not  weak  if  we  make  the  proper  use  of 
those  means  which  the  God  of  nature  hath  placed  in  our 
power.    Three  millions  of  people  armed  in  the  holy  cause 
of  liberty,  and  in  such  a  country  as  that  which  we  possess, 
are  invincible  by  any  force  which  our  enemy  can  send 
against  us.     Besides,   sir,  we  shall  not  fight  our  battles 
alone.  There  is  a  just  God  who  presides  over  the  destinies 
ol  nations,  and  who  will  jraise  up  friends  to  fight  our  bat- 
tles for  us.    The  battle,  sir,  is  not  to  the  strong  alone,  it  is 
to  the  vigilant,  the  active,  the  brave.    "Besides,  sir,  we  have 
no  election.    If  we  were  base  enough  to  desire  it,  it  is  now 

[19] 


too  late  to  retreat  from  th.e  contest.  There  is  no  retreat 
but  in  submission  and  slavery.  Our  chains  are  forged. 
Their  clanking  may  be  heard  on  the  plains  of  Boston!  The 
war  is  inevitable,  and  let  it  come!  I  repeat  it,  sir,  let  it 
comej ' 

8.  It  is  in  vain,  sir,  to  extenuate  the  matter.  Gentlemen 
may  cry  peace,  peace,  but  there  is  no  peace.  The  war  is 
actually  begun!  The  next  gale  that  sweeps  from  the  North 
will  bring  to  our  ears  the  clash  of  resounding  arms!  Our 
brethren  are  already  in  the  field!  Why  stand  we  here 
idle!  What  is  it  that  gentlemen  wish?  What  would  they 
have?  Is  life  so  dear,  or  peace  so  sweet,  as  to  be  purchased 
at  the  price  of  chains  and  slavery?  Forbid  it,  Almighty 
God!  I  know  not  what  course  others  may  take,  but  as  for 
me,  give  me  liberty,  or  give  me  death! — Patrick  Henry. 

EXERCISES 

Practice  Exercises  1   to  8.     Then  continue 
9.  a.  Inhale  slowly,  stretching  all  parts  at  once. 

b.  Hold  the  breath  5  to  10  seconds. 

c.  Exhale  easily. 

d.  Repeat  four  times. 

10.  a.  Inhale  slowly,  stretching  all  parts  at  once. 

b.  Hold  the  breath  5  to  10  seconds. 

c.  Exhale  quickly,  while  keeping  the  chest  up. 

d.  Repeat  four  times. 

11.  a.  Inhale  quickly,  stretching  all  parts  at  once. 

b.  Hold  the  breath  5  to  10  seconds. 

c.  Exhale  easily. 

d.  Repeat  four  times. 

12.  Thrust  abdominal  walls  out,   and  draw   them   in  al- 

ternately, four  or  five  times. 


[20] 


LESSON  V 

The  aim  of  the  condensative  paraphrase  is  to  get  at  the 
heart  of  the  matter,  to  sift  out  the  non-essential  and  fix  at- 
tention on  the  main  thing. 

It  is  a  good  way  to  test  whether  a  passage  has  unity  of 
structure, — one  main  thought,  and  everything  else  subor- 
dinate to  that, — or  whether  it  is  a  mere  heap  of  unarranged 
scraps.  Persistent  practice  in  condensing  will  enable  you 
to  make  the  main  thought  stand  out  without  confusion,  and 
show  just  how  the  lesser  things  are  connected  with  it. 

Now  after  we  have  found  the  author's  main  thought  and 
thus  focused  our  attention  upon  the  dominant  idea,  we 
need  also  to  see  it  vividly  and  dwell  upon  its  details  long 
enough  to  absorb  its  full  significance;  until  the  vague  haz- 
iness with  which  we  first  perceived  the  meaning  changes 
to  a  clear,  definite,  rich  possession  of  the  full  import  of  the 
passage.  We  can  do  this  by  making  an  expansive  para- 
phrase. Let  your  mind  dwell  on  the  thoughts  and  feel- 
ings contained  in  the  passage  until  others  arise,  such  as 
must  have  been  in  the  Author's  mind  when  he  wrote  this. 
Ask  yourself,  what  was  the  Author's  situation,  why  did  he 
write  this,  what  were  his  feelings  when  he  wrote  it,  what 
other  thoughts  were,  or  might  have  been,  in  his  mind  at 
that  time? 

He  is  the  skilful  reader  who  succeeds  in  bringing  up  in 
the  minds  of  his  hearers  vivid  images  of  the  scenes  and 
persons  described.  To  do  this  he  must  have  in  his  own 
mind  a  clear  picture  of  everything  he  would  convey.  The 
persons  must  become  real  to  him  for  the  time.  So  real 
must  the  picture  be  to  the  reader  that  he  would  be  able  to 
answer  questions  about  details  that  were  not  named  by  the 
author.  This  habit  of  picturing  is  the  chief  secret  of  ef- 
fective and  impressive  reading. 

The  following  examples  of  expansive  paraphrase  may 
be  suggestive.  It  is  not  enough  to  use  other  words.  Try  to 
express  all  the  thought.  Picture  it  in  your  own  mind. 

Suppose  you  were  asked  to  paraphrase  the  first  sen- 
tence in  the  twenty-third  Psalm. 

[21] 


Passage — The  Lord  is  my  shepherd, 

I  shall  not  want. 
Paraphrase — 

No  matter  what  may  happen,  I  shall  not  be  left  helpless 
or  unprovided,  for  the  all-powerful  Jehovah  is  caring  for 
me  as  kindly  as  a  shepherd  tends  his  sheep. 

Passage — 

Rock  of  Ages,  cleft  for  me, 

Let  me  hide  myself  in  Thee; 

Let  the  water  and  the  blood, 

From  Thy  riven  side  which  flowed, 

Be  of  sin  the  double  cure, 

Cleanse  me  from  its  guilt  and  power. 
Paraphrase — 

0,  thou  Savior,  with  whom  we  can  be  as  safe  and  un- 
shaken as  on  a  great  rock,  Thou  hast  suffered  on  account 
of  my  sin  such  agony  of  soul  that  it  seemed  as  if  it  would 
break  Thy  heart  and  shatter  Thee.  0,  let  me  hide  in  Thy 
protection  from  the  guiltiness  that  pursues  me,  and  the 
temptation  that  besets  me.  In  thy  very  life  cleanse  and  heal 
me.  Give  me  rest  from  this  terrible  sense  of  guilt,  and 
make  me  strong  enough  to  conquer  the  power  of  sin's 
temptations. 

Expand  the  following  into  50  to  75  words  each. 
Ill  every  case  try  to  make  the  picture  clearer,  fuller,  and 
more  vivid. 

1.  Make  a  joyful  noise  unto  Jehovah,  all  ye  lands, 
Serve  Jehovah  with  gladness. 

Gome  before  hi.s  presence  with  singing. 

2.  Oh  that  I  could  fly  away  and  be  at  rest. 

3.  Right  forever  on  the  scaffold,  wrong  forever  on    the 

throne; 
But  that  scaffold  sways  the  future,  and  behind  the 

dim  unknown 
Standeth  God  within  the  shadow,  keeping  watch  above 

His  own. 

4.  Lives  of  great  men  all  remind  us 
We  can  make  our  lives  sublime. 

5.  Rejoice,  0  young  man,  in  thy  youth. 

6.  Roll  on,  thou  deep  and  dark  blue  ocean,  roll. 

7.  0  the  long  and  dreary  Winter, 
0  the  cold  and  cruel  Winter. 

[22] 


EXERCISES 

lake  Exercises  1  to  12,  then  follow  with 

13.  a.  Thrust  the  diaphragm  down. 

b.  Let  diaphragm  recede  easily. 

c.  Repeat  four  times. 

14.  a.  Thrust  diaphragm  down  (as  in  13). 

b.  Contract  the  lower  abdominal  muscles. 

c.  Let  muscles  relax. 

d.  Repeat  four  times. 

15.  a.  Inhale  slowly,  keeping  chest  up,  and  stretching  the 

waist. 

b.  Blow  strongly  through  a  very  small  opening  of  the 
lips,  stretching  the  waist  all  the  time. 

c.  Let  muscles  relax. 

d.  Repeat  four  times. 

Note:  The  student  will  probably  find  these  exercises 
easier  if  he  lays  his  wrists  on  his  waist  with  the  hands 
stretched  over  the  abdomen.  No.  14  makes  all  the  walls  of 
the  air  chamber  firm,  and  tense  enough  to  make  the  tone 
resonant  instead  of  muffled  or  breathy. 


[23] 


LESSON  VI 


Read  the  following  narratives  carefully,  picturing  them 
to  yourself,  make  them  re-live  until  they  tingle  with  life, 
and  then  tell  each  to  the  class. 

POETIC  JUSTICE  ON  A  STREET  CAR 

A  conductor  on  a  street  car  had  refused  to  take  a  trans- 
fer on  the  ground  that  it  was  long  after  the  hour  punched. 
The  passenger  was  politely  told  that  under  the  rules,  the 
transfer  could  not  be  accepted,  and  that  he  would  have  to 
pay  his  fare  or  leave  the  car. 

"I'll  not  pay,  and  I'll  not  leave  the  car,"  said  the 
passenger  savagely. 

"I'll  pay  for  you  then,1'  said  the  conductor,  ringing  up 
the  faro.  "I'd  rather  lose  five  cents  than  wrangle  writh  a 
passenger." 

This  would  doubtless  have  closed  the  incident  had  not 
the  irate  passenger  seen  "Abe"  Hummel,  a  well-known  law- 
yer, sitting  opposite  him,  and  appealed  to  him  to  know  if 
he  was  right  or  wrong  in  refusing  to  pay  his  fare. 

"Do  you  wish  my  legal  advice?"  asked  Mr.  Hummel, 
with  a  show  of  gravity. 

"I  do."    . 

"I  never  give  legal  advice  without  a  fee." 

"Well,  here's  a  five-dollar  bill,"  said  the  passenger, 
peeling  off  a  bill  from  a  big  roll,  and  handing  it  to  Mr. 
Hummel,  who  promptly  accepted  it. 

"My  advice  is,  pay  your  fare  or  get  off  the  car." 

"Ts  that  all?" 

"No,"  replied  Mr.  Hummel.  Then  calling  the  conductor, 
and  handing  him  the  bill,  he  remarked,  "It  is  certainly 
worth  that  much  to  find  and  reward  a  gentlemanly  con- 
ductor." 

A  HOSPITABLE  GRUMBLER 

When  Anthony  Trollope  was  a  young  man  in  the  postal 
service  of  Great  Britain,  one  of  his  duties  was  to  investi- 
gate complaints  made  by  the  public.  On  one  occasion  he 
was  sent  to  visit  a  gentleman  in  Ireland,  who  had  com- 
plained in  frequent  letters  of  the  injury  done  him  by  some 
of  the  postal  arrangements. 

It  was  midwinter,  and  I  drove  up  to  his  house  (a 
squire's  country-seat)  in  a  snow-storm,  just  as  it  was  get- 
ting dark.  I  was  on  an  open  jauntins-ear,  and  was  cer- 
tainly very  cold,  and  very  wet  when  I  entered  the  house. 

[24] 


I  was  admitted  by  a  butler,  but  the  gentleman  himself 
hurried  into  the  hall.  I  at  once  began  to  explain  my 
business. 

"Bless  me!"  he  said,  "you  are  wet  through.  John  get 
Mr.  Trollope  some  tea—very  hot." 

I  was  beginning  my  postal  story  again  when  he  himself 
took  oil'  my  great  coat,  and  suggested  that  I  should  go  up 
to  my  bedroom  before  I  troubled  myself  with  business. 

"Bedroom!"  I  exclaimed.  Then  he  assured  me  that  he 
would  not  allow  a  dog  to  depart  on  such  a  night  as  that, 
and  into  the  bedroom  I  was  shown,  having  first  drunk  the 
tea  standing  at  the  drawing  room  fire. 

When  I  came  down  I  was  introduced  to  his  daughter, 
and  the  three  of  us  went  in  to  dinner.  I  shall  never  forget 
his  righteous  indignation  when  I  again  brought  up  the 
postal  question.  Was  I  such  a  Goth  as  to  contaminate 
dinner  with  business?  So  I  finished  dinner,  and  then 
heard  the  young  lady  sing,  while  her  father  slept  in  his 
arm-chair.  I  spent  a  very  pleasant  evening,  but  my  host 
was  too  sleepy  to  hear  anything  about  the  post-office  that 
night. 

It  was  absolutely  necessary  that  I  should  go  away  the 
next  morning  after  breakfast,  and  I  explained  that  the 
matter  must  be  discussed  then.  He  shook  his  head  and 
wrung  his  hands  in  unmistakeable  disgust— almost  in 
despair. 

"But  what  am  I  to  say  in  my  report?"  I  asked. 

"Anything  you  please,"  he  said.  "Don't  spare  me,  if 
you  want  an  excuse  for  yourself.  Here  I  sit  all  the  day, 
with  nothing  to  do;  and  I'like  to  write  letters." 

I  did  report  that  Mr.  So-a-nd-so  was  now  quite  satisfied 
with  the  postal  arrangements  of  his  district,  and  I  felt  a 
soft  regret  that  I  should  have  robbed  my  friend  of  his  oc- 
cupation. 

FRED  EVANS 

Fred  Evans  was  a  boy  who  worked  on  the  dump  in  an 
Illinois  coal  mine.  One  day  there  was  a  cave-in,  and  the 
earth  and  coal  in  settling  imprisoned  sixty  men.  The 
foreman  of  the  rescuing  partv  saw  the  small  opening  that 
the  cave-in  had  left  between  them  and  the  outer  world,  and 
he  asked  this  boy  if  he  would  dare  to  help  them.  "The 
hole  is  just  big  enough  for  you  to  crawl  through,"  he  said, 
"and  to  drag  a  hose  pipe  after  you.  You'll  have  to  be 
mightv  careful,  or  the  coal  will  settle  and  crush  your  life 
out.  But  if  you  can  get  it  through  to  them,  then  we  can 
pump  air  enough  in  to  keep  them  alive  till  we  can  dig 
them  out.  Are  you  willing  to  try  it?"  And  Fred  answered, 
"I'll  try  my  best." 

He  crawled  six-hundred  feet,  and  many  a  time  stopped, 
and  those  outside  gave  up  hope,  but  at  last  there  was  a 

[25] 


faint  call  that  told  them  he  was  there;  they  began  pumping 
air  and  water  and  milk  through  the  pipe  and  kept  it  up  for 
a  week,  when  Fred  and  the  whole  sixty  were  safely  brought 
out  and  given  back  to  their  families. 

GENERAL  HOWARD'S  COURTESY 

An  interesting  story  is  told  concerning  General  0.  0. 
Howard.  During  Sherman's  las_t  campaign  in  the  South 
certain  changes  in  commanders  were  made,  and  General 
Howard  was  placed  at  the  head  of  a  special  division.  Soon 
after  this  the  war  closed,  and  there  was  to  be  a  grand  re- 
view of  the  army  'at  Washington.  The  night  before  the  re- 
view Sherman  sent  for  Howard  and  said,  "The  political 
friends  of  the  man  you  succeeded  are  bound  that  he  shall 
ride  at  the  head  of  the  corps,  and  I  want  you  to  help  me 
out."  "It  is  my  command,"  said  Howard,  "and  I  am  en- 
titled to  ride  at  its  head."  "Of  course  you  are,"  responded 
Sherman,  "but,  Howard,  you  are  a  Christian,  and  can  stand 
the  disappointment."  "If  you  put  it  on  that  ground,"  said 
Howard,  "there  is  but  one  answer.  Let  him  ride  there." 
"Yes  let  him  have  the  honor,"  said  Sherman,  "but 
you  will  report  to  me  at  nine  o'clock,  and  ride  by  my 
side  at  the  head  of  the  army."  Howard  protested,  but  his 
commander's  orders  were  positive,  and  he  rode  with  the 
general-in-chief  at  the  head  of  the  whole  army. 

EXERCISES 

Take  exercises  1  to  15  (without  repetition)  then  con- 
tinue with 

16.  a.  Standing  erect,  with  chest  up,  inhale  slowly. 

b.  Exhale  while  saying  uah." 

c.  Repeat  four  times 

Notice  how  breathy  the  tone  is,  especially  when  the 
breath  becomes  nearly  exhausted. 

17.  a.  Inhale  slowly,  hold  the  breath  a  few  seconds. 

b.  Say  or   sing   "ah,"   stretching   the   waist   all   the 
time. 

c.  Relax  and  repeat  four  times. 

This  exercise  is  the  Keystone.  It  is  the  same  as  No.  14, 
with  the  addition  of  producing  a  resonant  or  "pure"  tone. 
The  difference  between  the  breathy  tone  in  No.  16  and  this 
tone  is  due  to  the  tenseness  of  the  diaphragm  and  abdomen 
in  this  exercise. 

A  pure  tone  gives  the  maximum  of  resonance  with  the 
minimum  of  effort. 

[26] 


LESSON  VII 


1.  Write  out  an  expansive  paraphrase  of  these  beautiful 

lines  of  Rowland  Sill. 

2.  Tell  us  the  substance  of  your    paraphrase    without 

looking  at  your  paper.    Tell  it  enthusiastically. 

OPPORTUNITY* 

This  I  beheld,  or  dreamed  it  in  a  dream: — 

There  spread  a  cloud  of  dust  along  a  plain; 

And  underneath  the  cloud,  or  in  it,  raged 

A  furious  battle,  and  men  yelled,  and  swords 

Shocked  upon  swords  and  shields.    A  prince's  banner 

Wavered,  then  staggered  backward,  hemmed  by  foes. 

A  craven  hung  along  the  battle's  edge, 

And  thought,  "Had  I  a  sword  of  keener  steel — 

That  blue  blade  that  the  king's  son  bears)— but  this 

Blunt  thing!" — he  snapt  and  flung  it  from  his  hand, 

And  lowering  crept  away  a'nd  left  the  field. 

Then  came  the  king's  son,  wounded,  sore  bestead 

And  weaponless,  and  saw  the  broken  sword, 

Hilt  buried  in  the  dry  and  trodden  sand, 

And  ran  and  snatched  it,  and  with  battle  shout 

Lifted  afresh  he  hewed  his  enemy  down, 

And  saved  a  great  cause  that  heroic  day. 

3.  Write  out  an  expansive  paraphrase  of  the  following 
by  Tennyson. 

4.  Tell  us  the  substance  of  it  freely  and  vividly,  with- 
out your  paper. 

Sunset  and  evening  star, 

And  one  clear  call  for  me! 
And  may  there  be  no  moaning  of  the  bar, 

When  I  put  out  to  sea. 

But  such  a  tide  as  moving  seems  asleep, 

Too  full  for  sound  and  foam, 
When  that  which  drew  from  out  the  boundless  deep 

Turns  again  home. 

Twilight  and  evening  bell, 

And  after  that  the  dark! 
And  may  there  be  no  sadness  of  farewell, 

When  I  embark. 


'Reprinted  by  kind  permission  of  Houghton,  Mifllin  &  Company. 

[27] 


For  tho1  from  out  our  bourne  of  Time  and  Place 

The  flood  may  bear  me  far, 
I  hope  to  see  my  Pilot  face  to  face 

When  I  have  crossed  the  bar. 

5.  Write  out  an  expansive  paraphrase  of  "My  Sym- 
phony," by  William  Henry  Changing. 

To  live  content  with  small  means,  to  seek  elegance 
rather  than  luxury,  and  refinement  rather  than  fashion; 
to  be  worthy,  not  respectable;  and  wealthy,  not  rich;  to 
study  hard,  think  quietly,  talk  gently,  act  frankly;  to  listen 
to  stars,  and  birds,  to  babes  and  sages,  with  open  heart;  to 
bear  all  cheerfully,  do  all  bravely,  await  occasions,  hurry 
never;  in  a  word,  to  let  the  spiritual,  unbidden  and  un- 
conscious, grow  up  through  the  common.  This  is  to  be  my 
symphony. 

EXERCISES 

Take  Exercises  1  to  17  (without  repetitions)  then  con- 
tinue with. 

18.  a.  Inhale  slowly,  hold  a  few  seconds. 

b.  Say  or  sing  "oh,  oh,  oh,  oh,"  keeping  diaphragm 
and  abdomen  comfortably  tense. 

c.  Relax,  and  repeat  four  times. 

19.  a.  Inhale  slowly. 

b.  While  holding  diaphragm  and  abdomen  comfort- 
ably tense,  say  or  sing  "ah"  on  each  degree  of  the 
scale,  up  and  down. 

c.  Relax,  and  repeat  four  times. 

d.  Same,  changing  "ah"  to  "oh,  oh,  oh." 

20.  a.  Same,  substituting  for  "ah"  the  numbers  one,  two, 

three,  four,  five,  six,  seven,  eight,  nine,  ten, 
b.  Same,   substituting  short  sentences,  as:  Roll     on 
thou  deep  and  dark  blue  ocean. 

Note:  Probably  you  will  not  be  able  at  first  to  go  up 
and  down  the  scale  without  relaxing.  Therefore  go  up, 
then  relax,  take  a  fresh  start  and  go  down  the  scale. 

When  speaking  do  not  inhale  too  full  a  breath,  so  that 
you  feel  stuffed.  Let  the  lungs  be  comfortably  full  of  quiet 
air.  If  you  let  air  out  while  speaking,  you  will  give  the 
impression  of  weariness. 


[28] 


LESSON  VIII 


1.  Write  out  a  clear,  vivid,  complete  condensative  para- 

phrase  (50-75  words)   of  this  selection. 

2.  Write  out  vividly  and  fully  an  expansive  paraphrase 

of  all  the  speeches  in  the  selection,  keeping  them 
in  the  first  person. 

3.  Tell   the   story     (without   looking    at   the    book,   of 

course),  so  vividly  as  to  make  your  hearers  see  it. 
You  cannot  do  this  successfully  in  class  unless  you 
have  done  it  several  times  in  your  study. 

DAVID  AND  GOLIATH 

1.  Now  the  Philistines  gathered  together  their  armies 
to  battle.    And  the  Philistines  stood  on  the  mountain  on  the 
o'ne  side,  and  Israel  stood  on  the  mountain  on  the  other 
side:  and  there  was  a  valley  between  them.    And  there 
went  out  a  champion  out  of  the  camr»  of  the  Philistines, 
named  Goliath,  of  Gath,  whose  height  was  six  cubits  and 
a  span.    And  he  had  a  helmet  of  brass  upon  his  head,  and 
he  was  clad  with  a  coat  of  mail;  and  the  weight  of  the  coat 
was  five  thousand  shekels  of  brass.    And  he  had  greaves 
of  brass  upon  his  legs,  and  a  javelin  of  brass  between  his 
shoulders.    And  the  staff  of  his  spear  was  like  a  weaver's 
beam;  and  his  spear's  head  weighed  six  hundred  shekels 
of  iron;  and  his  shield-bearer  went  before  him. 

2.  And  he  stood  and  cried  unto  the  armies  of  Israel,  and 
said  unto  them,  Why  are  ye  come  out  to  set  your  battle  in 
array?  am  not  I  a  Philistine,   and  ye  servants  to   Saul? 
Choose  you  a  man  for  you  and  let  him  come  down  to  me. 
If  he  be  able  to  fight  with  me,  and  kill  me,  then  will  we  be 
your  servants;  but  if  I  prevail  against  him  and  kill  him, 
then  shall  ye  be  our  servants,  and  serve  us.    And  when 
Saul  and  all  Israel  heard  those  words  of  the  Philistine, 
they  were  dismayed,  and  greatly  afraid. 

3.  And  David  said  to  Saul,  Let  no  man's  heart  fail  be- 
cause of  him;  thy  servant  will  go  and  fight  with  this  Phil- 
istine.   And  Saul  said  to  David,  Thou  art  not  able  to  go 
against  this  Philistine  to  fight  with  him;  for  thou  art  but  a 
youth,  and  he  a  man  of  war  from  his  youth.    And  David 
said   unto    Saul,   Thy   servant   was    keeping   his    father's 
sheep;  and  when  there  came  a  lion,  or  a  bear  and  took  a 
lamb  out  of  the  flock  I  went  out  after  him,  and  smote  him, 
and  delivered  it  out  of  his  mouth;   and  when  he   arose 
against  me,  I  caught  him  by  his  beard,  and  smote  him,  and 
slew  him.    Thy  servant  smote  both  the  lion  and  the  bear; 

[29] 


and  this  Philistine  shall  ie  as  one  of  them,  seeing  he  hath 
defied  the  armies  of  the  living  God.  Jehovah  that  delivered 
me  out  of  the  paw  of  the  lion,  and  out  of  the  paw  of  the 
bear,  he  will  deliver  me  out  of  the  hand  of  this  Philistine. 

4.  And  Saul  said  unto  David,  Go,  and  Jehovah  shall  be 
with  thee.    And  Saul  clad  David  with  his  appjarel,  and  he 
put  a  helmet  of  brass  upon  his  head,  and  he  clad  him  with 
a  coat  of  mail.    And  David  girded  his  sword  upon  his  ap- 
parel, and  he  assayed  to  go;  for  he  had  not  proved  it.    And 
David  said  unto  Saul,  I  cannot  go  with  these;  for  I  have 
not  proved  them.    And  David  put  them  off  him.    And  he 
took  his  staff  in  his   hand,   and  chose  him  five  smooth 
stones  out  of  the  brook,  and  put  them  in  the  shepherd's 
bag  which  he  had,  even  in  his  wallet;  and  his  sling  was  in 
his  hand:  and  he  drew  near  to  the  Philistine,  and  the  Phil- 
istine came  on  and  drew  near  unto  David. 

5.  And  when  the  Philistine  looked  about,  and  saw  David, 
he  disdained  him;  for  he  was  but  a  youth,  and  ruddy,  and 
withal  of  a  fair  contenance.    And  the  Philistine  said  unto 
David,  Am  I  a  dog,  that  thou  comest  to  me  with  staves? 
And  the  Philistine  cursed  David  by  his  gods.     And  the 
Philistine  said  to  David,  Come  to  me,  and  I  will  give  thy 
flesh  unto  the  birds  of  the  heavens,  and  to  the  beasts  of 
the  field.    Then  said  David  to  the  Philistine,  Thou  comest 
to  me  with  a  sword,  and  with  a  spear,  and  with  a  javelin; 
but  I  come  to  thee  in  the  name  of  Jehovah  of  hosts,  the  God 
of  the  armies  of  Israel,  whom  thou  has  defied.    This  day 
will  Jehovah  deliver  thee  into  my  hand;  and  I  will  smite 
thee,  and  take  thy  head  from  off  thee..  and  I  will  give  the 
dead  bodies  of  the  host  of  the  Philistines  this  day  unto  the 
birds  of  the  heavens,  and  to  the  wild  beasts  of  the  earth; 
that  all  this  assembly  may  know  that  Jehovah  saveth  not 
with  sword  and  spear:  for  the  battle  is  Jehovah's  and  he 
will  give  you  into  our  hand. 

6.  And  it  came  to  pass,  when  the  Philistine  arose,  and 
came  and  drew  nigh  to  meet  David,  that  David  hastened 
and  ran  toward  the  army  to  meet  the   Philistine.     And 
David  put  his  hand  in  his  bag,  and  took  thence  a  stone  and 
sla'ng  it,  and  smote  the  Philistine  in  his  forehead,  and  he 
fell  upon  his  face  to  the  earth.    But  there  was  no  sword 
in  the  hand  of  David.    Then  David  ran,  and  stood  over  the 
Philistine,   and  took   his  sword   and  drew   it  out  of  the 
sheath  thereof,  and  slew  him,  and  cut  off  his  head  there- 
with.   And  when  the  Philistines  saw  that  their  champion 
was  dead,  they  fled.    And  the  men  of  Israel  and  of  Judah 
arose,  and  shouted  and  pursued  the  Philistines,  until  thou 
comest  to  Gath. 

EXERCISES 

Many  people,  as  soon  as  they  stand  up  to  speak,  feel 
embarrassed,  therefore  their  muscles  are  constrained  and 

[30] 


their  movements  are  awkward.  It  is  desirable  to  keep  all 
muscles  relaxed  except  those  necessarily  in  use.  To  give 
freedom  to  the  muscles  and  incidentally  to  the  mind,  prac- 
tice faithfully  exercises  21-30. 

21.  a.  Stand  erect,  heels  together,  weight  on  both  feet. 

(Viewed  from  the  side,  a  straight  line  should 
pass  through  the  ear,  shoulder,  hip,  knee 
and  instep.) 

b.  Shift  weight  to  right  foot  and  relax  left  foot. 

c.  Lift  left  foot    (still  relaxed),  and  shake  it  as  if  it 

were  tied  to  the  ankle. 

d.  Weight  on  left  foot  and  shake  right. 

22.  a.  Relax  hands  and  wrists  and  shake. 

b.  Place  left  palm  between  thumb  and  fingers  of  right 

hand  and  shake  left  hand  till  it  becomes  jelly-like. 

c.  Shake  right  hand  in  same  way. 

23.  a.  Stand  with  one  foot  on  brick  or  block. 

b.  Relax  knee  and  ankle  muscles  of  other  leg. 

c.  Raise  knee  and  drop,  still  relaxed. 

24.  a.  Place  fingers  on  shoulders. 

b.  Stretch  whole  body  upward. 

c.  Let  arms  go. 


[31] 


LESSON  IX 


1.  Write  out  a  condensative  paraphrase  (50-75  words)  of 

Lincoln's  speech. 

2.  Expansive   paraphrase.     Expand    (to  200-250  words) 

iirst  two  sentences  of  the  speech.    Make  it  such  as 
Lincoln  might  have  spoken  at  that  time. 

SPEECH  AT  THE  DEDICATION  OF  THE  NATIONAL 
CEMETERY  AT  GETTYSBURG 
November  15, 1863. 

Fourscore  and  seven  years  ago  our  fathers  brought 
forth  upon  this  continent  a  new  nation,  conceived  in  lib- 
erty, and  dedicated  to  the  proposition  that  all  men  are 
created  equal.  Now  we  are  engaged  in  a  great  civil  war, 
testing  whether  that  nation,  or  any  nation  so  conceived 
and  so  dedicated,  can  long  endure.  We  are  met  on  a  great 
battlefield  of  that  war.  We  have  come  to  dedicate  a  por- 
tion of  that  field  as  a  final  resting  place  for  those  who  here 
gave  their  lives  that  that  nation  might  live.  It  is  alto- 
gether fitting  and  proper  that  we  should  do  this.  But  in 
a  larger  sense  we  ca-nnot  dedicate,  we  cannot  consecrate, 
we  cannot  hallow  this  ground.  The  brave  men,  living 
and  dead,  who  struggled  here,  have  consecrated  it  far 
above  our  power  to  add  or  detract.  The  world  will  little 
note,  nor  long  remember  what  we  say  here;  but  it  can  never 
forget  what  they  did  here.  It  is  for  us,  the  living,  rather 
to  be  dedicated  here  to  the  unfinished  work  which  they 
who  fought  here  have  thus  far  so  nobly  advanced.  It  is 
rather  for  us,  to  be  here  dedicated  to  the  great  task  re- 
maining before  us,  that  from  these  honored  dead  we  take 
increased  devotion  to  that  cause  for  which  they  gave  the 
last  full  measure  of  devotion;  that  we  here  highly  resolve 
that  these  dead  shall  not  have  died  in  vain;  that  this 
nation,  under  God,  shall  have  a  new  birth  of  freedom,  and 
that  government  of  the  neople,  by  the  people,  and  for  the 
people,  shall  not  perish  from  the  earth. — Abraham  Lincoln. 

EXERCISES 

25.  a.  Stand,  one  foot  on  block,  relax  free  leg. 

b.  Rise  on  tip-toe,  without  contracting  any  muscles  in 
free  leg. 

c.  Repeat  four  times. 

26.  a.  Relax  arms  wholly. 

[32] 


b.  With  a  springy  motion  on  toes,  twist  body  so  as 

to  swing  arms  from  shoulders,  still  relaxed. 
27.  a.  Stand,  feet  apart,  with  weight  on  right  foot,  left 
leg  relaxed. 

b.  Gradually  change  weight  without  moving  feet. 

c.  Repeat  this  change  of  poise  from  left  to  right  and 
return. 

Caution:  In  this  change  of  poise,  the  hips  and  not  the 
shoulders,  should  lead.  The  shoulders  should  remain 
level. 


[33] 


LESSON  X 


Speech  may  be  viewed  in  two  aspects — its  subject  and 
its  object — what  you  say,  and  why  you  say  it.  In  studying 
a  passage  it  is  not  enough  to  know  the  Author's  subject — 
what  he  is  talking  about,  wo  must  also  know  his  object — 
\\liy  he  is  saying  this,  what  he  is  driving  at.  What 
makes  him  say  just  this?  What  does  he  expect  to  ac- 
complish by  it?  Why  does  he  say  this  particular  thing 
'instead  of  something  else?  In  the  selection  on  page  15, 
what  is  Ruskin's  subject;  that  is,  what  is  Ruskin  talking 
about?  Now  what  is  his  object,  why  does  Ruskin  tell  us 
or  the  old  Scythian  custom?  Is  it  his  purpose  merely  to 
give  us  information  about  I  he  habits  of  those  people,  or 
has  he  a  purpose  that  is  at  first  concealed?  Why  does  he 
not  tell  us  at  the  beginning  that  this  is  a  parable,  a  figure 
of  speech,  to  impress  upon  us  a  less  tangible  truth?  The 
immediate  purpose  of  the  parable  is  to  catch  our  attention 
and  hold  our  minds  alert  for  what  is  to  follow.  We  shall 
frequently  find  that  the  immediate  purpose  of  an  Author  is 
different  from  his  main  purpose.  The  immediate  purpose  is 
what  the  Author  is  trying  to  accomplish  at  that  particular 
moment.  The  immediate  purpose  may  change  at  every 
step,  as  a  man  going  up  a  steep  mountain,  turns  this 
way  and  that  way,  but  while  he  seems  to  be  going  in  a 
rJiflVront  direction,  he  is  still  working  towards  the  top. 
So  the  immediate  purpose  may  seem,  on  a  hasty  reading,  to 
be  contradictory  to  the  main  purpose.  But  it  must  al- 
ways contribute  to  the  main  purpose  by  preparing  the 
mind  in  some  wray  for  it. 

Study  Patrick  Henry's  speech  on  page  18,  and  write  out 
your  answers  to  these  questions: 

1.  What  is  the  general  situation  of  affairs? 

2.  What  is  his  subject,  what  is  he  talking  about? 

3.  What  is  his  object?    What  is  his  main  purpose?  State 

in  25-50  words  what  he*  wanted  to  accomplish  by  this 
speech. 


[34] 


4.  Is  this  main  purpose  noticeable  in  the  first  paragraph? 

5.  Gould  he  accomplish  this  purpose  if  he  left  out  the  first 

paragraph? 

6.  What  is  his  immediate  purpose  in  the  first  paragraph? 

7.  Is  there  any  connection  between  this  immediate  pur- 

pose and  his  main  purpose? 

8.  Could  he  leave  out  paragraph  three? 

9.  Why  did  he  not  end  his  speech  with  the  fifth  para- 

graph? 

10.  What  is  the  purpose  of  paragraph  six?    Of  paragraph 
seven? 

Since  we  cannot  fully  grasp  the  Author's  meaning  until 
we  know  his  object  and  aim  we  must  make  purpose  the 
basis  of  our  study.  Now,  how  shall  we  ascertain  the 
Author's  purpose?  It  will  help  us  to  get  his  meaning  if 
we  know  something  of  the  Author, — what  sort  of  man  he 
was,  the  circumstances  in  which  he  spoke,  and  the  kind 
of  people  he  was  addressing.  But  the  one  thing  we  must 
find  out  is  his  purpose;  what  is  his  object  in  this  speech? 
what  impression  does  he  want  to  make  on  the  hearers? 
What  result  does  he  want  to  produce  in  their  minds? 
Does  he  want  to  give  them  information?  Or  does  he  want 
to  make  them  think?  Or  does  he  want  them  to  feel  as  he 
does  about  this  matter?  Or  does  he  want  them  to  decide, 
and  do  something? 

EXERCISES 

To  test  poise  when  standing  erect  with  weight  on  one 
foot  and  the  other  relaxed: 

28.  a.  Lift  free  foot  and  touch  toe  to  ground  in  front, 

then   behind — without   moving   or   stiffening     the 
body. 

b.  Cross   free  foot   in   front  of  other,   touch   toe   to 
ground  and  return  without  moving  or  stiffening 
the  body. 

c.  Change  weight  to  other  foot  and  do  the  same. 

29.  a.  Sit  on  stool    (or  low-backed  chair),  lean  forward 

with  elbows  across  knees, 
b.  Relax  neck  muscles  and  drop  head. 
[35] 


c.  With  muscles  still  relaxed  let  body  swing  in    a 

circle,  the  shoulders  dragging  head  around. 
30.  a.  Sit  on  stool,  lean  forward,  elbows  across  knees. 

b.  Relax  neck  and  drop  head. 

c.  Raise  head  leaving  jaw  still  relaxed. 

d.  Shake  head  from  side  to  side,  letting  teeth  rattle. 

e.  Shake  head  up  and  down,  letting  teeth  rattle. 

Note:  If  the  jaw  is  not  free  enough  to  rattle  the  teeth, 
proceed  through  a,  b,  c,  above,  then  take  No.  22b.  This 
often  proves  the  first  step  in  relaxing  the  muscles  of  the 
jaw. 


[36] 


LESSON  XI 


Psychologists  in  studying  the  mind,  notice  three  aspects 
—Intellect,  Feeling,  and  Will.  The  mind  is  not  divided, 
these  are  not  three  separate  parts.  The  whole  mind  thinks, 
the  whole  mind  feels,  the  whole  mind  acts.  But  the  pro- 
cesses are  different  in  each  case.  Indeed,  there  are  four 
processes  (1  and  2  belong  to  the  Intellect). 

1.  Perception  of  facts,  noting  what  one  sees. 

2.  Conception,   Reasoning,   or  the   forming   of  a  Judg- 

ment. While  the  perceptive  faculty  merely  gets 
a  number  of  isolated  "snap-shots,"  as  it  were,  the 
Judgment  compares  one  with  another,  examines 
their  points  of  likeness,  or  of  unlikeness,  and  sees 
how  one  thing  is  related  to  another. 

3.  Emotion,  or  Feeling,  such  as  sternness,  pleasure,  fear, 

joy,  hate,  admiration,  dignity,  etc. 

4.  Volition,  Determination,  or  Will,  the  making  of  de- 

cisions. 

1.  If  your  purpose  is  -simply  to  give  your  hearer  some 
facts,  if  you  want  him  merely  to  perceive  them,  to  take 
them  in,  to  record  them  on  the  retina  of  his  mind,  like 
snapshots  on  camera  plates,  then  your  purpose  might 
be  called  Presentation.  You  present  certain  facts  before 
his  mind,  you  unfold  your  thoughts  clearly  and  quietly. 
Any  passage  in  which  this  is  the  main  purpose  of  the 
Author  we  may  classify  as  Presentation. 

The  bride  kissed  the  goblet;  the  knight  took  it  up; 
He  quaffed  off  the  wine,  and  he  threw  down  the  cup. 
She  looked  down  to  blush,  and  she  looked  up  to  sigh. 
With  a  smile  on  her  lip,  and  a  tear  in  her  eye. 
He  took  her  soft  hand,  ere  her  mother  could  bar,— 
"Now  tread  we  a  measure!"  said  young  Lochinvar. 

How  many  snapshots  are  there  in  these  six  lines? 

How  many  facts  do  the  following  lines  present? 
My  name  is  Norval;  on  the  Grampian  hills 
My  father  feeds  his  flocks;  a  frugal  swain, 
Whose  constant  cares  were  to  increase  his  store, 
And  keep  his  only  son,  myself,  at  home. 
[37] 


Nobody  under  the  table,  nobody  under  the  sofa;  a  small 
fire  in  the  grate;  spoon  and  basin  ready;  and  the  little 
sauce-pan  of  gruel  (Scrooge  had  a  cold  in  his  head)  upon 
the  hob.  Nobody  under  the  bed;  nobody  in  the  closet, 
nobody  in  his  dressing-gown,  which  was  hanging  up  in  a 
suspicious  attitude  against  the  wall.  Quite  satisfied,  he 
closed  the  door  and  locked  himself  in. 

Is  there  any  connected  line  of  thought  in  this,  or  is  it 
merely  presentation  of  facts? 

This  type,  Presentation  is  of  course  often  tinged  with 
other  types,  but  you  need  have  no  difficulty  in  classify- 
ing examples  correctly.  It  asserts  instead  of  arguing;  it 
explains  instead  of  comparing;  it  presents  propositions, 
but  does  not  discuss  them. 

2.  If,  however,  your  purpose  is  not  only  to  make  your 
hearer  take  in  certain  facts,  but  also  to  make  him  reason 
about  them;  if  you  want  him  to  compare  these  facts,  to 
contrast  them,  to  detect  differences,  if  you  want  to  ap- 
peal to  his  reasoning  faculty,  his  judgment,  then  you 
must  show  the  difference  between  facts,  you  must  discrim- 
inate, you  must  compare.  Any  passagt  in  which  this  is 
the  Author's  purpose  may  be  classed  as  Discrimination. 

After  the  close  of  the  Revolutionary  war,  the  king  of 
Great  Britain  ordered  a  thanksgiving  to  be  kept  through- 
out the  kingdom.  A  minister  of  the  ..gospel  inquired  of 
him,  "For  what  are  we  to  give  thanks?  that  your  majesty 
has  lost  thirteen  of  your  best  provinces?"  The  king  an- 
swered, "No."  Is  it  then,  that  your  majesty  has  lost  one 
hundred  thousand  lives  of  your  best  subjects?"  "No,  no!" 
said  the  king.  "Is  it  then,  that  we  have  expended,  and  lost, 
a  hundred  millions  of  money,  and  for  the  defeat  and  tar- 
nishing of  your  majesty's  arms?"  "No  such  thing," — said 
the  king  pleasantly.  "What  then,  is  the  object  of  the 
thanksgiving?"  "Oh,  give  thanks  that  it  is  no  worse." 

Speak  the  speech,  I  pray  you,  as  I  pronounced  it  to  you; 
trippingly  on  the  tongue.  But  if  you  mouth  it,  as  many 
of  your  players  do,  I  had  as  lief  the  town-crier  spoke  my 
lines.  Nor  do  not  saw  the  air  too  much  with  your  hand, 
thus,  but  use  all  gently;  for  in  the  very  torrent,  tempest, 
and,  as  I  may  say,  the  whirlwind  of  passion,  you  must 
acquire  arid  beget  a  temperance  that  may  give  it  smooth- 
ness. 

[38] 


Thinking  leads  man  to  knowledge.  He  may  see  and 
hear,  and  read  and  learn  whatever  he  pleases,  and  as 
much  as  lie  pleases;  he  will  never  know  anything  of  it, 
except  that  which  he  has  thought  over;  that  which,  by 
thinking,  he  has  made  the  property  of  his  mind.  Is  it 
then  saying  too  much,  that  man,  only  by  thinking,  becomes 
truly  man?  Take  a\vay  thought  from  man's  life,  and  what 
remains?" 

There  are  two  kinds  of  poverty.  One  consists  in  not 
having  things;  the  other  in  not  being  able  to  use  them.  If 
a  man  has  millions  and  gets  nothing  out  of  it,  he  is  as 
poor  as  if  he  had  nothing.  No  man  is  rich  who  gets  nothing 
from  his  wealth  but  board  and  clothes.  Would  it  enrich  a 
tribe  of  Hottentots  to  send  thorn  a  library,  or  a  piano,  or  a 
printing-press?  Not  in  the  least,  because  the  Hottentot  is 
dead  to  these  things.  Enlargement  of  life  which  enables 
a  man  to  discover  new  value  in  that  which  is  about  him  is 
the  (Hie  condition  on  which  all  possible  good  for  him  de- 
pends. 

"The  quality  of  mercy  is  not  strain'd, 

It  droppeth  as  the  gentle  rain  from  heaven 

Upon  the  place  beneath:  it  is  twice  blest; 

It  blesseth  him  that  gives  and  him  that  takes; 

Tis  mightiest  in  the  mightiest:  it  becomes 

The  throned  monarch  better  than  his  crown; 

His  sceptre  shows  the  force  of  temporal  power, 

The  attrihute  to  awe  and  majesly, 

Wherein  doth  sit  the  dread  and  fea-r  of  kings; 

But  mercy  is  abovo  this  sceptred  sway; 

It  is  enthroned  iji  the  hr-arts  of  kings, 

It  is  an  attribute  to  God  himself; 

And  earthly  power  doth  then  show  likest  God's 

When  mercv  seasons  justice.    Therefore,  Jew, 

Though  justice  be  thy  plea,  consider  this: 

That,  in  the  course  of  justice,  none  of  us 

Should  see  salvation:  we  do  pray  for  mercy; 

And  that  same  prayer  doth  teach  us  all  to  render 

The  deeds  of  mercy." 

Point  out  any  parts  of  these  five  examples  that  merely 
present  facts.  Do  you  perceive  that  each  of  these  pas- 
sages, as  a  whole,  reveals  a  different  mood  of  the  speaker's 
mind  from  that  shown  in  the  three  passages  given  under 
Presentation? 

3.  But  if  presenting  facts  and  discriminating  between 
various  facts  and  their  different  qualities  is  not  your  aim; 
if  you  wish  to  stir  your  hearer's  feelings,  to  arouse  him  to 
indignation  or  enthusiasm,  to  excite  his  pity,  his  laughter, 

[39] 


or  his  joy,  you  must  (generally)  be  stirred  yourself,  and 
as  your  feeling  shows  itself  the  hearer  will  catch  it  also. 
A  passage  that  reveals  some  emotion  of  the  Author  and  ap- 
peals to  the  feelings  of  the  hearer  we  may  classify  as 
Emotion. 

See  what  a  grace  was  seated  on  this  brow! 

Bear  with  me; 

My  heart  is  in  the  coffin  there  with  Caesar, 
And  I  must  pause  till  it  come  back  to  me. 

If  it  will  feed  nothing  else  it  will  feed  my  revenge. 

I  am  indeed,  sir,  a  surgeon— to  old  shoes. 
When  they  are  in  great  danger,  I  recover  them. 

0  save  me  Hubert,  save  me  from  these  bloody  men. 

Do  you  see  clearly  that  these  examples  show  a  different 
mood  of  the  speaker's  mind  from  the  passages  given  under 
Discrimination? 

4.  There  is  still  another  purpose  that  a  speaker  may 
have,  the  purpose  to  influence  the  hearer  to  make  a  de- 
cision, to  stir  his  will,  to  cause  him  to  act.  This  is  usually 
accomplished  by  the  impact  of  the  speaker's  will  upon  the 
\\ill  of  the  hearer.  A  passage  which  thus  arouses  the  de- 
termination of  the  hearer  by  showing  the  will  or  volition 
of  the  speaker,  we  may  classify  as  Volition. 

He  has  charged  me  with  being  connected  with  the 
rebels.  The  charge  is  utterly,  totally,  and  meanly 
false. 

Were  I  an  American,  as  I  am  an  Englishman,  while  a 
single  foreign  troop  remained  in  my  country,  I 
would  never  lay  down  my  arms,  Never!  Never! 
Never ! 

Pilate  answered,  What  I  have  written  I  have  written. 

Note:  These  examples  of  Volition  are  tinged  with 
Emotion.  Indeed  passages  containing  only  one  mood  of  the 
author's  mind  are  rare;  but  while  traces  of  the  other 
moods  may  be  present  in  a  passage,  it  is  not  difficult 
(after  some  practice)  to  decide  which  mood  is  dominant, 
which  purpose  rules. 

[40] 


LESSON  XII 


Study  the  selection  David  and  Goliath,  page  29. 

In  Paragraph  1  is  the  Author's  purpose  to  give  facts  or  to 
convince. 

In  Paragraph  2  is  his  purpose  to  present  facts  or  to  com- 
pare facts,  or  to  express  some  emotion? 

Does  any  speech  of  David  show  feeling?  If  so,  what 
feeling? 

Does  any  speech  of  Saul  show  feeling?  If  so,  what  feel- 
ing? 

Does  any  speech  of  Goliath  show  feeling?  If  so,  what 
feeling? 

In  Saul's  first  speech  (In  Paragraph  3)  is  there  more  of  in- 
formation, reasoning,  or  feeling? 

In  David's  reply  is  there  more  of  information,  reasoning, 
feeling,  or  'determination? 

Select  two  sentences  that  may  be  classed  as  Presentation. 

Select  two  sentences  that  may  be  classed  as  Discrimin- 
ation. 

Select  two  sentences  that  may  be  classed  as  Emotion. 

Select  two  sentences  that  may  be  classed  as  Volition. 

Paraphrase  each  of  these  eight  sentences  in  such  a  way  as 
to  show  unmistakably  that  they  do  belong  to  the  class 
in  which  you  have  put  them. 

Study  again  Patrick  Henry's  speech  on  page  18. 

What  Emotions,  or  feelings,  does  the  speaker  show? 

Does  he  manifest  any  Volition? 

Does  he  show  any  Discrimination? 

Ls  there  any  Presentation  of  facts? 

Mark  all  of  these  with  pencil  in  the  margin,  and  thus  be 
ready  to  answer  without  delay. 

EXERCISE3 

Go  through  all  the  exercises,  doing  each  once  without 
the  repetitions  indicated. 

[41] 


REVIEW  QUESTIONS 

1.  Make  a  list  of  the  facts  given  in  the  first  Paragraph 

of  "Goliath"  page  29. 

2.  Is  any  Paragraph  in  "Goliath"  made  up  entirely  of 

one  type,  or  mood? 

3.  Which   of  the  four  moods  is  most  common  in    this 

selection? 

4.  Which  of  the  four  moods  is  most  common  in  ordi- 

nary conversation? 


[42] 


LESSON  XIII 


Study  the  address  of  Spartacus  until  you  understand 
it  thoroughly,  and  write  out  answers  to  the  questions  that 
follow. 

SPARTACUS  TO  THE  GLADIATORS  AT  CAPUA 

1.  It  had  been  a  day  of  triumph  in  Capua.    Lentulus, 
returning  with  victorious  eagles,  had  amused  the  populace 
with  the  sports  of  the  amphitheatre  to  an  extent  hitherto 
unknown  even  in  that  luxurious  city.    The  shouts  of  rev- 
elry had  died  away;  the  roar  of  the  lion  had  ceased;  the 
last  loiterer  had  retired  from  the  banquet,  and  the  lights 
in  the  palace  of  the  victor  were  extinguished.    The  moon, 
piercing   the   tissue   of   fleecy   clouds,   silvered   the   dew- 
drops  on  the  corselet  of  the  Roman  sentinel,  and  tipped 
the  dark  waters  of  the  Vulturnus  with  a  wavy,  tremulous 
light.    No  sound  was  heard,  save  the  last  sob  of  some  re- 
tiring wave,  telling  its  story  to  the  smooth  pebbles  of  the 
beach;  and  then  all  was  still  as  the  breast  when  the  spirit 
has  departed.    In  the  deep  recesses  of  the  amphitheatre  a 
band   of  gladiators   were    assembled,   their   muscles   still 
knotted  with  the  agony  of  conflict,  the  foam  upon  their 
lips,  the  scowl  of  battle  yet  lingering  on  their  brows,  when 
Spartacus,  starting  forth  from  amid  the  throng,  thus  ad- 
dressed them: 

2.  Ye  call  me  chief;  and  ye  do  well  to  call  him  chief 
who,  for  twelve  long  years,  has  met  upon  the  arena  every 
shape  of  man  or  beast  the  broad  empire  of  Rome  could 
furnish,  and  who  never  yet  lowered  his  arm.    If  there  be 
one  among  you  who  can  say  that  ever,  in  public  fight  or 
private  brawl,  my  actions  did  belie  my  tongrue,  let  him 
stand  forth  and  say  it.    If  there  be  three  in  all  your  com- 
pany da-re  face  me  on  the  bloody  sands,  let  them  come  on. 
And  yet  I  was  not  always  thus, — a  hired  butcher,  a  savage 
chipf  of  still  more  savage  men. 

3.  Mv    ancestors    came    from    old    Sparta,'  and    settled 
amone:  the  vine-clad  rocks  and  citron-groves  of  Syrasella. 
My  early  life  ran  ouiet  as  the  brooks  by  which  T  sported; 
and  when  at  noon  I  gathered  tbe  sheep  beneath  the  shade, 
and  played  upon  the  shepherd's  flute,  there  was  a  friend,   the 
son  of  a  n^ierhbor,  to  join  me  in  the  nastime.    We  led  our 
flocks  to  the  same  pasture,  and  partook  together  of  our 
rustic  mea-1.    One  evening1,  after  the  sheep  were  folded,  and 
we  were  all  seated  beneath  the  myrtle  which  sba-ded  our 
cottaere,  my  grandsire,  an  old  man.  was  telling  of  Marathon 
and  Leuctra,  and  how,  in  ancient  times,  a  little  band  of 

[43] 


Spartans,  in  a  defile  of  the  mountains,  had  withstood  a 
whole  army.  I  did  not  then  know  what  war  was;  but  my 
cheeks  burned,  I  knew  not  why,  and  I  clasped  the  knees 
of  that  venerable  man,  until  my  mother,  parting  the  hair 
from  off  my  forehead,  kissed  my  throbbing  temples  and 
bade  me  go  to  rest,  and  think  no  more  of  those  old  tales  and 
savage  wars.  That  very  night  the  Romans  landed  on  our 
coast.  I  saw  the  breast  that  had  nourished  me  trampled 
by  the  hoof  of  the  war-horse,  the  bleeding  body  of  my. 
father  flung  amidst  the  blazing  rafters  of  our  dwelling! 

4.  Today  I  killed  a  man  in  tha  arena,  and  when  I  broke 
his  helmet-clasps,  behold!  he  was  my  friend.    He    knew 
me,   smiled   faintly,   gasped,   and   died;1— the   same   sweet 
smile  upon  his  lips  that  I  had  marked,  when,  in  adven- 
turous boyhood,  we  scaled  the  lofty  cliff  to  pluck  the  first 
ripe  grapes,  and  bear  them  home  in  childish  triumph.     I 
told  the  praetor  that  the  dead  man  had  been  my  friend, 
generous  and  brave,  and  I  begged  that  I  might  bear  away 
the  body,  to  burn  it  on  a  funeral  pile,  and  mourn  over  its 
ashes.    Ay,  upon  my  knees,  amid  the  dust  and  blood  of  the 
arena,  I  begged  that  poor  boon,  while  all  the  assembled 
maids  and  matrons,  and  the  holy  virgins  they  call  Vestals, 
and  the  rabble,  shouted  in  derision,  deeming  it  rare  sport, 
forsooth,  to  see  Rome's  fiercest  gladiator  turn  pale  and 
tremble  at  sight  of  that  piece  of  bleeding  clay.    And  the 
praetor  drew  back,  as  I  were  pollution,  and  sternly  said, 
"Let  the  carrion  rot;  there  are  no  noble  men  but  Romans." 

5.  And  so,  fellow-gladiators,  must  you,  and  so  must  I, 
die  like  dogs.     0  Rome,  Rome,  thou  'hast  been  a  tender 
nurse  to  me.     Ay,  thou  hast  given  to  that  poor,  gentle, 
timid  shepherd  lad,  who  never  knew  a  harsher  tone  than 
a  flute-note,  muscles  of  iron  and  a  heart  of  flint;  taught 
him  to  drive  the  sword  through  plaited  mail  and  links 
of  rugged  brass,  and  warm  it  in  the  marrow  of  his  foe; — • 
to  gaze  into  the  glaring  eyeballs  of  the  fierce  Numidian 
lion,  even  as  a  boy  upon  a  laughing  girl.    And  he  shall  pay 
thee  back,  until  the  yellow  Tiber  is  red  as  frothing  wine, 
and  in  its  deepest  ooze  thy  life-blood  lies  curdled. 

6.  Ye    stand    here    now   like    giants,    as    ye    are.     The 
strength  of  brass  is  in  your  toughened  sinews;  but  tomor- 
row some  4  Roman  Adonis,  breathing:  sweet  perfume  from 
his  curly  'locFs,     shall  with   his  lily  fingers     pat     your 
red  braw'n,  a-nd  bet  his  sesterces  upon  yowr  blood.    Hark! 
hear  ye  von  lion  roaring  in  his  den?    'Tis  three  days  since 
he  tasted  flesh,  but  tomorrow  he  shall  break  his  fast  upon 
yours, — and  a  dainty  meal  for  »him  ye  will  be!    If  ye  are 
beasts,   then   stand    here   like   fat   oxen,   waiting   for  the 
butcher's  knife!    Tf  ye  are  men, — follow  me!    Strike  down 
yon  guard,  erain  the  mountain  masses,  and  there  do  bloody 
work,  as  did  your  sires  at  Old  Thermopylae.     Is  Spa-rta 
dead?    Is  the  old  Grecian  spirit  frozen  in  your  veins,  that 

[44] 


you  do  crouch  and  cower  like  a  belabored  hound  beneath 
his  master's  lash?  0  comrades,  warriors,  Thracians, — if 
we  must  fight,  let  us  fight  for  ourselves!  If  we  must  slaugh- 
ter, let  us  slaughter  our  oppressors!  If  we  must  die,  let  it  be 
under  the  clear  sky,  by  the  bright  waters,  in  noble,  hon- 
orable battle!— Elijah  Kellogg. 

To  whom  is  he  speaking? 

What  was  their  condition? 

Why  does  he  speak? 

What  is  his  main  purpose — that  is,  what  does  he  ex- 
pect to  accomplish  by  this  speech? 

Does  Section  2  help  towards  this  main  purpose? 

In  what  way  does  it  help  towards  it — that  is,  what  is 
the  immediate  purpose  of  Section  2? 

What  is  the  immediate  purpose  of  Section  3? 

How  does  Section  4  contribute  towards  his  object? 

What  is  the  immediate  purpose  of  Section  6  and  how 
does  that  help  on  his  main  purpose? 

What  parts  of  this  selection  are  mainly  Presentation? 
(Mark  P  in  margin.) 

What  parts  are  mainly  Emotion?    (Mark  E  in  margin.) 

What  parts  are  mainly  comparison  of  facts,  discussion, 
reasoning,  Discrimination?  (Mark  D  in  margin.) 

What  parts  are  mainly  determination,  the  exercise  of 
will,  Volition?  (Mark  V  in  margin.) 

EXERCISES 

1.  Practice  on  the  exercises  in  which  you  are  not  pro- 
ficient. 


[45] 


LESSON  XIV 


1.  Oh,  young  Lochinvar  is  come  out  of  the  West! 
Through  all  the  wide  border  his  steed  was  the  best; 
And  save  his  good  broadsword  he  weapon  had  none; 
He  rode  all  unarmed  and  he  rode  all  alone. 

So  faithful  in  love,  and  so  dauntless  in  war, 
There  never  was  knight  like  the  young  Lochinvar. 

2.  He  staid  not  for  brake,  and  he  stopped  not  for  stone, 

He  swam  the  JEsk  river  where  ford  there  was  none; 
But  ere  he  alighted  at  Netherby  gate, 
The  bride  had  consented,— the  gallant  came  late; 
For  a  laggard  in  love,  and  a  dastard  in  war, 
Was  to  wed  the  fair  Ellen  of  brave  Lochinvar. 

3.  So  boldly  he  entered  the  Netherbv  Hall, 

Among  bridesmen,  and  kinsmen,  and  brothers  and  all. 
Then    spoke   the    bride's    father,    his    hand   on   his 

sword, — 

For  the  poor  craven  bridegroom  said  never  a  word, — 
"Oh,  come  ye  in  peace  here,  or  come  ye  in  war, 
Or  to  dance  at  our  bridal,  young  Lord  Lochinvar?" 

4.  "I  long  wooed  your  daughter; — my  suit  you  denied: 

Love  swells  like  the  Solway,  but  ebbs  like  its  tide; 
And  now  I  am  come,  with  this  lost  love  of  mine 
To  lead  but  one  measure,— drink  one  cup  of  wine. 
There  be  maidens  in  Scotland,  more  lovely  bv  far, 
That  would  gladly  be  bride  to  the  young  Lochinvar/' 

5.  The  bride  kissed  the  goblet,  the  knight  took  it  up; 

He  quaffed  off  the  wine,  and  he  threw  down  the  cup: 
She  looked  down  to  blush,  and  she  looked  up  to  sigh, 
Wi_th  a  smile  on  her  lip,  and  a  tear  in  her  eye; 
He  took  her  soft  hand  ere,  her  mother  could  bar;— 
"Now  tread  we  a  measure!"  said  young  Lochinvar. 

6.  So  stately  his  form  and  so  lovely  her  face, 

That  never  a  hall  such  a  galliard  did  grace; 

While  her  mother  did  fret,  and  her  father  did  fume. 

And  the  bridegroom  stood  dangling  his  bonnet  and 
plume. 

And  the  bridesmaidens  whispered,  "Twere  better, 
by  far,' 

To  have  matched  our  fair  cousin  with  young  Loch- 
invar." 

[46] 


7.  One  touch  to  her  hand,  and  one  word  in  her  ear, 

When  they  reached  the  hall-door,  and  the  charger 

stood  near; 

So  light  to  the  croupe  the  fair  lady  he  swung, 
So  light  to  the  saddle  hefore  her  he  sprung: 
"She  is  won!  we  are  gone!     over  hank,  bush,  and 

scaur; 
They'll  have  fleet  steeds  that  follow,"  quoth  young 

Lochinvar. 

8.  There  was  mounting  'mong  Graemes  of  the  Netherby 

clan: 
Forsters,  Fenwicks,  and  Musgraves,  they  rode  and 

they  ran; 

There  was  racing  and  chasing  on  Cannobie  Lee, 
But  the  lost  bride  of  Netherby  ne'er  did  they  see. 
So  daring  in  love,  and  so  dauntless  in  war,' 
Have  ye  e'er  heard  of  gallant  like  young  Lochinvar? 


1.  Study  this  poem  and  tell  the  story  briefly  and  with 

spirit. 

2.  Shut  your  eyes  and  imagine  the  whole  episode  until 

you  can  see  every  detail  of  it  vividly. 

3.  Write  a  paraphrase  of  stanza  3  so  as  to  make  the 

facts  clear  and  vivid.  State  exactly  what  happened. 

4.  Paraphrase  the  same  stanza  so  as  to  sho\v  the  feeling 

in  it. 

5.  Paraphrase   stanza  7   so  as  to   emphasize  the     Dis- 

crimination— so  as  to  make  us  understand  exactly 
what  each  person  did,  and  why.  For  the  sake  of 
vividness  always  keep  your  paraphrase  in  direct 
discourse.  Read  your  paraphrase  aloud  and  then 
read  aloud  the  stanza  paraphrased.  Notice  that 
your  reading  is  improved  after  making  the  clear 
paraphrase.  This  is  because  the  paraphrase  is 
your  interpretation  of  the  meaning. 

6.  Select  from  the  poem  three  passages  that  discrim- 

inate by  showing  contrasts. 

7.  Select  three  passages  that  discriminate  as  to  time, 

in  which  the  attention  is  called  to  what  came  first 
or  what  came  after. 

8.  Select  some  passage  that  discriminates  as  to  place; 

that  points  out  the  position  of  persons  or  objects. 


[47] 


Note:  In  stanza  6  the  attention  is  not  called  to  the  time, 
though  a  time-word  ("while")  is  used.  The  point  is 
not  the  time  of  his  dancing  but  the  beauty  of  it.  In 
stanza  4  the  word  "now"  does  call  attention  to  the  time. 
Before  this  he  had  come  as  a  lover,  but  now  he  says  he 
comes  as  a  mere  acquaintance. 

EXERCISES 

Take  exercises  1-4,  describe  them  rapdily  and  vividly; 
and  then  give  them  before  the  class,  as  you  would 
to  a  class  of  your  own  that  you  were  teaching. 
Lead  the  class  in  these  exercises,  and  see  that  each 
member  performs  correctly. 


LESSON  XV 


Study  this  selection  from  Shakespeare's  Julius  Caesar 
until  you  can  see  the  whole  scene  just  as  if  you  wore 
there  when  it  occurred. 

Brutus.    Good  countrymen,  let  me  depart  alone, 
And,  for  my  sake,  stay  here  with  Antony: 
Do  grace  to  Caesar's  corpse,  and  grace  his  speech, 
Tending  to  Caesar's  glories;  which  Antony, 
By  our  permission,  is  allow'd  to  make.  5 

I  do  entreat  you,  not  a  man  depart, 
Save  I  alone,  till  Antony  have  spoke. 

First  Citizen.    Stay,  ho!  and  let  us  hear  Mark  Antony. 

Third  Citizen.    Let  him  go  up  into  the  public  chair; 
We'll  hear  him.    Noble  Antony,  go  up.  10 

Antony.    For  Brutus'  sake,  I  am  beholding  to  you. 

Fourth  Git.    What  does  he  say  of  Brutus? 

Third  Git.  He  says,  for  Brutus'  sake, 

He  finds  himself  beholding  to  us  all. 

Fourth  Git.    'Twere  best  he  speak  no  harm  of  Brutus 
here.  15 

First  Git.    This  Caesar  was  a  tyrant. 

Third  Git.  Nay,  that's  certain: 

We  are  blest  that  Rome  is  rid  of  him. 

Sec.  Git.    Peace!  let  us  hear  what  Antony  can  say. 

Ant.    You  gentle  Romans, —  20 

Citizens.  Peace,  ho!  let  us  hear  him. 

Ant.     Friends,   Romans,    countrymen,    lefnd   mp    your 

ears; 

I  come  to  bury  Caesar,  not  to  praise  him. 
The  evil  that  men  do  lives  after  them; 
The  good  is  oft  interred  with  their  bones;  25 

So  let  it  be  with  Caesar.    The  noble  Brutus 
Hath  told  you  Caesar  was  ambitious: 
If  it  were  so,  it  was  a  grievous  fault, 
And  grievously  hath  Caesar  answer'd  it. 
Here,  under  leave  of  Brutus  and  the  rest'—  30 

For  Brutus  is  an  honorable  man; 
So  are  they  all,  all  honorable  men — 
Come  I  to  speak  in  Caesar's  funeral. 
He  was  my  friend,  faithful  and  just  to  me: 
But  Brutus  says  he  was  ambitious  35 

And  Brutus  is  an  honorable  man. 
He  hath  brought  many  captives  home  to  Rome, 
Whose  ransoms  did  the  general  coffers  fill: 
Did  this  in  Caesar  seem  ambitious? 

[49] 


When  that  the  poor  have  cried,  Caesar  hath  wept:       40 

Ambition  should  be  made  of  sterner  stuff: 

Yet  Brutus  says  he  was  ambitious; 

And  Brutus  is  an  honorable  man. 

You  all  did  see  that  on  the  Lupercal 

I  thrice  presented  him  a  kingly  crown,  45 

Which  he  did  thrice  refuse:  \yas  this  ambition? 

Yet  Brutus  says  he  was  ambitious; 

And,  sure,  he  is  an  honorable  man. 

I  speak  not  to  disprove  What  Brutus  spoke, 

But  here  I  am  to  speak  what  I  do  know.  50 

You  all  did  love  him  once,  not  without  cause: 

What  cause  withholds  you  then,  to  mourn  for  him? 

0  judgment!  thou  art  fled  to  brutish  beasts, 

And  men  have  lost  their  reason.    Bear  with  me; 

My  heart  is  in  the  coffin  there  with  Caesar,  55 

And  I  must  pause  till  it  come  back  to  me. 

First  Git.     Methinks  there  is  much  reason  in  his  say- 
ings. 

Sec.  Cit.  If  thou  consider  rightly  of  the  matter, 
Caesar  has  had  great  wrong. 

Third  Cit.  Has  he  not  masters? 

1  fear  there  will  a  worse  come  in  his  place.  61 

Fourth    Cit.     Mark'd    ye    his    words?      He    would    not 

take  the  crown; 
Therefore  't  is  certain  he  was  not  ambitious. 

First  Cit.    If  it  be  found  so,  some  will  dear  abide  it. 
Sec.    Cit.     Poor   soul!    his   eyes   are   red   as   fire   with 
weeping.  65 

Third   Cit.     There's  not  a  nobler  man  in  Rome  than 

Antony. 

Fourth  Cit.    Now  mark  him,  he  begins  again  to  speak. 
Ant.  But  yesterday  the  word  of  Caesar  might 
Have  stood  against  the  world;  now  lies  he  there, 
And  none  so  poor  to  dp  him  reverence.  70 

0  masters,  if  I  were  dispos'd  to  stir 

Your  hearts  and  minds  to  mutiny  and  rage, 

1  should  do  Brutus  wrong,  and  Cassius  wrong, 
Who,  you  all  know,  are  honorable  men: 

I  will  not  do  them  wrong;  I  rather  choose  75 

To  wrong  the  dead,  to  wrong  myself  and  you, 

Than  I  will  wrong  such  honorable  men. 

But  here's  a  parchment  with  the  seal  of  Caesar; 

I  found  it  in  his  closet,  't  is  his  will: 

Let  but  the  commons  hear  this  testament —  80 

Which,  pardon  me,  I  do  not  mean  to  read — 

And  they  would  go  and  kiss  dead  Caesar's  wounds 

And  dip  their  napkins  in  his  sacred  blood, 

Yea,  beg  a  hair  of  him  for  memory, 

[50] 


And,  dying,  mention  it  within  their  wills,  85 

Bequeathing  it  as  a  rich  legacy 
Unto  their  issue. 

Fourth  Git.    We'll  hear  the  will:  read  it,  Mark  Antony. 

All.    The  will,  the  will!  we  will  hear  Caesar's  will. 

Ant.    Have  patience,,  gentle  friends,  I  must  not  read  it; 
It  is  not  meet  you  know  how  Caesar  lov'd  you.  91 

You  are  not  wood,  you  are  not  stones,  but  men; 
And,  being  men,  hearing  the  will  of  Caesar, 
It  will  inflame  you,  it  will  make  you  mad: 
T  is  good  you  know  not  that  you  are  his  heirs:  95 

For,  if  you  should,  0,  what  would  come  of  it! 

Fourth  Git,    Read  the  will;  we'll  hear  it,  Antony; 
You  shall  read  us  the  will,  Caesar's  will. 

Ant.     Will  you  be  patient?  will  you  stay  awile? 
I  have  o'ershot  myself  to  tell  you  of  it:  100 

I  fear  I  wrong  the  honorable  men 
Whose  daggers  have  stabb'd  Caesar;  I  do  fear  it. 

Fourth  Git.    They  were  traitors:  Honorable  men! 

All.    The  will!  the  testament! 

Sec.    Git.     They    were    villains,    murderers:    the    will! 
read  the  will.  106 

Ant.    You  will  compel  me,  then,  to  read  the  will? 
Then  make  a  ring  about  the  corpse  of  Caesar, 
And  let  me  show  you  him  that  made  the  will. 
Shall  I  descend?  and  will  you  give  me  leave? 

Several  Git.     Come  down.  110 

Sec.  Git.     Descend. 

Third  Git.    You  shall  have  leave. 

Fourth  Git.    A  ring;  stand  round. 

First    Git.      Stand    from    the    hearse,    stand    from    the 
body. 

Sec  Git.    Room  for  Antony,  most  noble  Antony.        115 

Ant.    Nay,  press  not  so  upon  me;  stand  far  off. 

Several  Git.     Stand  back;  room;  bear-  back. 

Ant.    If  you  have  tears,  prepare  to  shed  them  now. 
You  all  do  'know  this  mantle:  I  remember 
The  first  time  ever  Caesar  put  it  on;  120 

'T  was  on  a  summer's  evening,  in  his  tent, 
That  day  he  overcame  the  Nervii: 
Look,  in  that  place  ran  Cassius'  dagger  through: 
See  what  a  rent  the  envious  Casca  made: 
Through  this  the  well-beloved  Brutus  stabb'd;  125 

And  as  he  pluck' d  his  cursed  steel  away, 
Mark  how  the  blood  of  Caesar  follow'd  it, 
As  rushing  out  of  doors,  to  be  resolv'd 
If  Brutus  so  unkindly  knock'd,  or  no; 

For  Brutus,  as  you  know,  was  Caesar's  angel:  130 

Judge,  0  you  gods,  how  dearly  Caesar  lov'd  him: 
This  was  the  most  unkindest  cut  of  all; 
For  when  the  noble  Caesar  saw  him  stab, 

[51] 


Ingratitude,  more  strong  than  traitor's  arms, 

Quite  vanquish'd  him:  then  burst  his  mighty  heart;      135 

And,  in  his  mantle  muffling  up  his  face, 

PJven  at  the  base  of  Pompey's  statua, 

Which  all  the  while  ran  blood,  great  Caesar  fell. 

0,  what  a  fall  was  there,  my  countrymen! 

Then  I,  and  you,  and  all  of  us  fell  down,  140 

Whilst  bloody  treason  flourish'd  over  us. 

0,  now  you  weep,  and,  I  perceive,  you  feel 

The  dint  of  pity;  these  are  gracious  drops. 

Kind  souls,  what,  weep  you  when  you  but  behold 

Our   Caesar's   vesture   wounded?     Look   you   here,       145 

Here  is  himself,  marr'd,  as  you  see,  with  traitors. 

First  Git.  0  piteous  spectacle! 

Sec.  Git.    0  noble  Caesar! 

Third  Git.    0  woful  day! 

Fourth  Git.    0  traitors,  villains!  150 

First  Git.    0  most  bloody  sight! 

Sec.  Git.    We  will  be  reveng'd. 

All.      Revenge!     About!      Seek!     Bufn!     Fire!      Kill! 
Slay!    Let  not  a  traitor  live! 

Ant.  Stay   countrymen.  155 

First  Git.    Peace  there!  hear  the  noble  Antony. 

Sec.  Git.    We'll  hear  him,  we'll  follow  him,  we'll  die 
with  him. 

Ant.    Good  friends,  sweet  friends,  let  me  not  stir  you 

up 

To  such  a  sudden  flood  of  mutiny. 

They  that  have  done  this  deed  are  honorable:  160 

What  private  griefs  they  have,  alas,  I  know  not, 
That  made  them  do  it:  they  are  wise  and  honorable, 
And  will,  no  doubt,  with  reasdns  answer  you. 
I  come  not,  friends,  to  steal  away  your  hearts: 
I  am  no  orator,  as  Brutus  is;  165 

But,  as  you  know  me  all,  a  plain  blunt  man, 
That  love  my  friend;  and  that  they  know  full  well 
That  gave  me  public  leave  to  speak  of  him: 
For  I  have  neither  wit,  nor  words,  nor  worth, 
Action,  nor  utterance,  nor  the  power  of  speech,  170 

To  stir  men's  blood:  I  only  speak  right  on; 
I  tell  you  that  which  you  yourselves  do  know; 
Show    you     sweet  Caesar's    wounds,  poor    poor    dumb 

mouths, 

And  bid  them  speak  for  me:  but  were  I  Brutus, 
And  Brutus  Antony,  there  were  an  Antony  175 

Would  ruffle  up  your  spirits  and  put  a  tongue 
In  every  wound  of  Caesar  that  shouM  move 
The  stones  of  Rome  to  rise  and  mutiny. 

All.     We'll  mutiny. 

First  Git.     We'll  burn  the  house  of  Brutus.  180 

Third  Git.    Away,  then!  come,  seek  the  conspirators. 

Ant      Yet  hear  me,  countrymen;   yet   hear   me   speak. 
[52] 


All.    Peace,  ho!     Hear    Antony.     Most    noble    Antony! 

Ant.    Why,  friends,  you  go  to  do  you  know  not  what: 
Wherein  hath  Caesar  thus  deserv'd  your  loves?  185 

Alas,  you  know  not:  I  must  tell  you,  then: 
You  have  forgot  the  will  I  told  you  of. 

All.     Most  true.     The  will!     Let's  stay  and  hear  the 
will. 

Ant.     Here  is  the  will,  and  under  Caesar's  seal. 
To  every  Roman  citizen  he  gives,  190 

To  every  several  man,  seventy-five  drachmas. 

Sec.  Git.    Most  noble  Caesar!    We'll  revenge  his  death. 

Third  Git.    0  royal  Caesar! 

Ant.    Hear  me  with  patience. 

All.     Peace,  ho!  195 

Ant.    Moreover,  he  hath  left  you  all  his  walks, 
His  private  arbours  and  new-planted  orchards, 
On  this  side  Tiber;  he  hath  left  them  you, 
And  to  your  heirs  forever,  common  pleasures, 
To  walk  abroad,  and  recreate  yourselves.  200 

Here  was  a  Caesar!  when  comes  such  another? 

First  Git.    Never,  never.    Come,  away,  away! 
We'll  burn  his  body  in  the  holy  place, 
And  with  the  brands  fire  the  traitors'  houses. 
Take  up  the  body.  205 

Sec.  Git.    Go  fetch  fire. 

Third  Git.    Pluck  down  benches. 

Fourth   Git.     Pluck  down  forms,  windows,   any  thing. 

Ant.    Now  let  it  work.    Mischief,  thou  art  afoot, 
Take  thou  what  course  thou  wilt! 

Write  out  brief  answers  to  these  questions? 

1.  Whose  funeral  was  this? 

2.  Who  had  killed  him? 

3.  Were  the  mob  pleased  or  angry  with  Brutus? 

4.  Did  they  want  to  listen  to  Antony? 

5.  What  would  have  happened  if  Antony  had  said  any- 

thing against  Brutus?    Did  Antony  know  this? 

6.  What  is  Antony's  main  purpose  in  his  speech? 

7.  Does  he  tell  them  that  at  the  beginning? 

8.  What  then  is  his  immediate  purpose? 

9.  Antony  first  presents  certain  facts  to  them;  Caesar 

was  his  friend,  and  according  to  custom  he  is 
going  to  say  some  loving  things  at  the  funeral.  He 
is  not  going  to  blame  Brutus,  of  course  not;  but 
he  does  not  want  to  bury  his  friend  without  a 
word  of  respect  and  appreciation.  Mark  with  "P" 
in  the  margin  that  part  of  his  speech  that  you 
think  is  mostly  presentation. 
[53] 


10.  Soon  Antony  begins  to  reason  about  the  facts  he  has 

given.  Very  shrewdly  he  starts  questions  in  their 
minds  about  Caesar's  "ambition;"  compares  the 
greatness  of  the  penalty  with  his  wrongdoing; 
discusses,  at  first  very  cautiously,  the  "honorable- 
ness"  of  murder.  He  introduces  and  suggests  these 
ideas  so  skillfully  that  you  will  perhaps  not  notice 
at  once  that  this  is  Discrimination.  Mark  with  "D" 
in  the  margin  the  section  of  his  speech  that  be- 
longs to  this  type  of  thought. 

11.  After  he  sees  that  the  crowd  are  comparing,  weigh- 

ing and  balancing  the  matter,  he  wants  to  get 
their  feeling  on  Caesar's  side,  so  he  mentions 
things  that  will  appeal  to  their  admiration  and 
love  of  Caesar,  he  stirs  their  patriotic  pride  in 
Caesar's  victories,  and  arouses  their  personal  grat- 
itude by  reading  Caesar's  generous  gifts  to  them 
in  his  will.  Mark  with  UE"  in  the  margin  that 
part  of  the  speech  that  expresses  emotion. 

12.  But    facts,    arguments,    even    strong    feeling    is    not 

enough;  something  must  be  done.  He  wants  to 
stir  the  mob  to  act,  so  he  suggests  what  he  wants 
them  to  do  (by  telling  them  not  to  do  that)  and 
arouses  their  determination  to  do  it.  Mark  with 
"V"  in  the  margin  the  part  of  the  speech  that 
most  expresses  volition. 

13.  Are  Antony's  different  moods  of  utterance  distinct  or 

do  they  overlap? 

EXERCISES 

Describe  exercises  5-8  as  carefully  and  vividly  as  if 
teaching  a  class  of  your  own,  and  then  lead  the 
class  in  practicing  them  correctly. 


[54] 


LESSON  XVI 


Write  briefly  in  order,  the  different  facts  that  are 
presented  to  the  mob  in  lines  1-36.  Some  of  these 
facts  that  Antony  would  have  thought  it  neces- 
sary to  mention,  Brutus  has  just  stated,  so  An- 
tony did  not  need  to  repeat  them. 

2.  What  distinctions  or  comparisons,   or  contrasts,   or 

inferences  are  made  in  lines  26-63  ^ 

3.  Where  does  Antony  show  emotion,  and  what  emo- 

tions? 
Make  a  list  of  the  things  he  says  to  stir  the  feelings 

of  the  mob  in  favor  of  Caesar. 
Make  a  list  of  the  things  he  says  to  stir  them  against 

the  conspirators. 

4.  What  statements   does  Antony  make  to   awake  the 

will,  the  determination  of  the  mob? 

5.  Is  it  natural  to  have  some  feeling  mixed  with  Dis- 

crimination, and  with  Volition? 

Is  there  any  Presentation  in  that  part  of  the  speech 
you  have  marked  Emotion? 

Note:  It  is  convenient  to  mark  the  dominant  mood  of 
a  passage  with  a  large  letter  in  the  margin  and  the  sen- 
tences in  it  that  show  some  other  mood  with  a  smaller 
letter. 


Make  a  tabular  chart,  as  indicated  on  the  following 
page.  For  the  present,  fill  in  the  second  and  the  last  col- 
umn from  your  own  observation  of  how  folk  do  naturally 
express  the  different  moods  of  utterance.  Your  results 
can  be  corrected  from  later  lessons.  The  other  columns 
can  be  filled  from  information  already  given. 


[55] 


1 

2 

Purpose  of 
Speaker  or 
Mood  of 
Utterance 

How 
Expressed 
by  the 
Voice 

Addresses 
What  Faculty 
of  Hearer's 
Mind 

What  His 
Mind  Does  In 
Response 

What  Sort  and 
Size  of  Gesture 
Used 

3 

4 

EXERCISES 

Describe  exercises  9-12  as  clearly  as  if  you  were  teach- 
ing a  class  of  your  own,  and  then  lead  the  class  in 
practicing  them  correctly. 


[56] 


LESSONS  XVII  and  XVIII 


1.  When  the  Speaker  is  in  the  mood  we  have  named 
Presentation,  he  unconsciously  expresses  it  to  his  hearers 
by  the  time  he  takes  in  speaking;  his  rate  of  speaking  be- 
ing faster  or  slower  according  to  whether  the  thoughts 
presented  are  easy  or  difficult  for  the  hearer  to  take  in. 
In  the  following  passage  from  Rudyard  Kipling,  the  hearer 
needs  time  to  construct  the  scene  in  his  mind  as  the 
speaker  gives  it  to  him  piece  by  piece.  Note  which  parts 
take  most  time  for  you  to  get  the  picture  clear  in  your 
own  mind  as  you  read  it  from  the  page. 

The  army  of  the  South  had  finally  pierced  the  center 
of  the  army  of  the  North,  and  was  pouring  through  the 
gap  hot-foot  to  capture  a  city  of  strategic  importance. 
Its  front  extended  fan-wise,  the  sticks  being  represented 
by  regiments  strung  out  along  the  line  of  route  back- 
wards to  the  transport  columns.  On  its  right  the  broken 
left  of  the  army  of  the  North  was  flying  in  mass.  .  .  . 
Unluckily  he  did  not  observe  that  three  miles  to  his  right 
flank  a  flying  column  of  Northern  horses  had  been  pushed 
around  to  cut  across  the  entire  rear  of  the  Southern  army, 
to  break,  as  it  were,  all  the  ribs  of  the  fan  where  they 
converged. 

As  you  tell  this  (without  the  book,  of  course)  you  may 
use  the  blackboard  to  help  make  it  clear  to  the  hearers. 
Do  not  go  too  fast  for  them  to  construct  the  scene  in  their 
own  minds.  Do  the  same  with  this  passage  from  Victor 
Hugo: 

Those  who  wish  to  form  a  distinct  idea  of  the  battle  of 
Waterloo,  need  only  imagine  a  capital  A  laid  on  the 
ground.  The  left  of  the  A  is  the  Nivelles  road,  the  right 
one  the  Gcnappe  road,  while  the  string  of  the  A  is  the 
broken  way  running  from  Ohaine  to  Braine  1'Allend.  The 
top  of  the  A  is  Mont  St.  Jean,  where  Wellington  is;  the 
left  lower  point  is  Hougomont,  where  Reille  is  with  Jerome 
Bonaparte;  the  right  lower  point  is  la  Belle  Alliance, 
where  Napoleon  is.  A  little  below  the  point  where  the 
string  of  the  A  meets  and  cuts  the  right  leg,  is  La  Haye 
Sainte;  and  in  the  center  of  this  string  is  the  exact  spot 
where  the  battle  was  concluded.  The  triangle  comprised 
at  the  top  of  the  "A"  between  the  two  legs  and  the  string, 
is  the  plateau  of  Mont  St.  Jean;  the  dispute  for  this 
plateau  was  the  whole  battle. 

[57] 


As  you  tell  the  next  incident  (tr.ying  to  make  your 
hearers  see  it  vividly),  notice  which  words  are  instinct- 
ively said  most  slowly. 

During  the  summer  of  1893  occurred  the  great  Knox  fire 
in  Washington.  The  household  goods  of  many  of  Wash- 
ington's citizens  had  been  stored  in  the  Knox  warehouse. 
The  fire,  which  began  on  the  first  floor,  took  everything 
before  it.  It  burned  through  floor  after  floor,  until  it 
broke  at  last  from  the  towering  roof.  The  water  which 
the  firemen  poured  into  the  flames  seemed  like  added 
fuel.  Soon  the  massive  walls  fell  with  a  mighty  crash. 
The  fire  raged  fiercely  for  some  time,  and  then  left  a 
smoldering  heap  of  ruins.  After  the  danger  \vas  past,  a 
large  staff  of  men  began  work  removing  the  debris.  Ev- 
erything in  the  building  seemed  to  be  crushed.  Great 
beams  had  been  snapped  as  though  they  wX*re  mere 
splints.  Load  after  load  of  fhe  debris  had  been  hauled 
away,  when,  underneath  it  all,  protected  by  a  beam  which 
lay  aslant,  was  found  a  delicate  little  cut-glass  vase,  its 
crystal  beauty  unmarred  by  the  crash,  and  untarnished 
by  the  smoke,  as  perfect  as  when  it  left  the  liands  of  the 
skilful  artist  who  made  it. 

2.  When  fhe  speaker  is  in  the  mood,  Discrimination, 
he  expresses  it  to  his  hearers  by  the  inflection  of  his 
voice,  that  is,  by  the  differences  in  pitch.  The  change 
from  a  high  key  to  a  lower,  or  from  a  low  key  to  a  higher, 
draws  attention  to  fhe  word  on  which  the  change  occurs, 
and  so  draws  attention  to  the  different  aspects  of  thought 
in  the  speaker's  mind.  In  fhe  following  passages,  you 
will  notice  far  more  of  these  inflections  than  there  were 
in  those  just  given. 

Aguinaldo,  the  insurgent  chieftain  of  the  Philippines, 
is  the  son  of  a  prominent  native  chief  and  was  educated 
by  the  Spanish  priests  in  Manila,  who  thought  that  his 
influence,  when  he  grew  up,  would  help  to  maintain 
Spanish  authority.  With  this  object  in  view  he  was  sent 
to  Madrid  to  finish  his  education  for  the  priesthood.  He- 
preferred  the  life  of  a  soldier,  however,  and  after  two 
years  returned  home  and  enlisted  in  the  army.  Later 
he  organized  a  revolt  among  the  native  troops,  and  one 
morning  while  on  parade  he  and  his  followers  shot  all 
the  Spanish  officers  and  then  took  to  the  swamps.  At 
that  time  he  had  about  4,000  men  under  his  command. 
The  Governor-General  offered  a  reward  of  $20,000  for  his 
head,  and  within  a  \veek  received  a  note  saying:  "I  need 
the  sum  you  offer  very  much  and  will  deliver  the  head 

[58] 


myself."  Ten  days  later  a  priest  came  to  the  sentinels  at 
the.  Governor-General's  gate  and  asked  if  his  Excellency 
was  within.  They  answered  "Yes"  and  ushered  him  in. 
The  priest  immediately  locked  the  door  behind  him,  and 
said  "Do  you  know  me?"  It  was  Aguinaldo  with  a  20-inch 
bolo,  a  native  knife,  sharp  as  a  razor,  with  which  the 
Malays  can  lop  off  an  arm  as  tho  it  were  a  carrot.  "I  have 
brought  the  head  of  Aguinaldo,  and  I  claim  the  reward." 
There  was  nothing  else  to  be  done,  so  the  Governor-Genera] 
opened  his  desk  and  counted  out  the  sum  in  Spanish  gold, 
whereupon  Aguinaldo  wrote  a  receipt,  cooly  counted  the 
money  and  suddenly  opening  the  door  dashed  out  just 
ahead  of  a  pistol  bullet  that  cut  a  lock  of  hair  from  his 
temples. 

The  main  witness  against  Waterson  was  one  Delafield, 
who  swore  he  was  working  just  outside  the  window  of  the 
accused  on  the  day  of  the  crime,  and  saw  Waterson  open 
a  cupboard,  take  down  a  bottle,  move  aboul  as  if  prepar- 
ing a  potion,  and  then  administer  the  draught  to  Mrs. 
Waterson,  who  died  in  great  agony  later  in  the  day. 

Waterson's  lawyer,  named  Bradford,  had  asked  the  jury- 
men when  impaneled,  if  they  had  faitn  enough  in  the 
WTeather  Bureau  reports  to  attach  credence  to  them,  and 
had  found  every  man  believed  the  records  were  fair  and 
reliable.  The  prosecuting  attorney  had  not  understood 
the  drift  of  these  questions,  but  had  not  objected. 

When  it  came  to  cross-examining,  Bradford  asked  the 
witness,  Delafield,  what  he  was  doing  outside  Waterson's 
window,  and  he  said  he  was  digging  a  cistern. 

"When  did  you  begin  digging  that  cj stern?" 

"November  llth,  the  day  Mrs.  Waterson  died." 

"How  much  did  you  dig  that  day?" 

"Oh,  about  three  feet." 

"What  tools  did  you  use?" 

"A  shovel." 

"And  a  pick?" 

"No,  the  ground  was  mellow." 

"Work  in  an  overcoat?" 

"No;  my  shirt  sleeves.    The  day  was  warm." 

'Have  anything  to  drink?" 

"Had  a  little  pail  of  water  on  the  ground  within  reach." 

"DidiVt  it  freeze?" 

"No."     The  witness  smiled  scornfully. 

Then  Bradford  offered  in  evidence  a  certified  copy  of 
the  Weather  Bureau  report  for  November  I0'o:i  and  llth, 
and  showed  that  the  temperature  had  been  below  freezing 
the  first  day  and  below  zero  the  day  of  tiie  crime. 

THE   BRAZILIAN   RAT-CATCHER 

On  the  morning  after  my  arrival,  in  descending  the 
staircase  to  go  to  breakfast,  I  was  frightened  half  to 

[59] 


death  at  seeing  an  enormous  snake  curled  up  on  the  floor 
at  the  foot  of  the  stairs. 

The  serpent  was  apparently  asleep,  but  I  was  not  at  all 
sure  he  might  not  be  preparing  to  strike  at  me.  So  I  ran 
back  up  the  stairs  with  all  the  speed  I  could  manage,  and 
shouted  for  help. 

In  two  minutes  the  hall  was  full  of  servants,  all  gazing 
at  me  in  astonishment;  and  my  host  rushed  out  of  his  own 
apartment. 

"What  is  the  matter?"  he  asked,  in  his  best  English. 

"Why,  look  there!  Look  at  that  snake!" 

I  pointed  at  the  coiled-up  monster  at  the  foot  of  the 
staircase,  who  FLOW  had  lifted  up  his  head  a  little,  and 
was  sleepily  looking  about  him. 

The  servants  held  their  hands  to  their  mouths,  and 
my  host  laughed  outright. 

"Why,"  said  he,  "that's  only  Pedro;  that's  our  giboia." 

"Oh,"  said  I,  gasping,  "I  thought  it  was  a  big  snake." 

"It  is  a  snake,"  said  my  host,  "but  it  is  perfectly  harm- 
less. You  will  not  find  a  house  in  this  part  of  Brazil  with- 
out one.  They  keep  the  premises  clear  of  rats.  Pedro 
won't  hurt  you." 

"But  how  am  I  going  to  get  down-stairs?"  I  asked,  un- 
easily. 

"Oh,  you  can  step  right  over  him." 

I  declined,  however,  to  make  this  attempt;  whereupon 
a  servant  came  forward  and,  seizing  the  snake  about  the 
neck  with  both  hands,  dragged  him  out  into  the  yard. 

I  saw  that  the  creature  was  not  less  than  four  yards 
long,  and  as  thick  as  the  arm  of  the  negro  who  dragged 
him  out. 

Before  I  left  the  place  I  found  out  a  great  deal  about 
"giboias."  They  are  a  species  of  small  boa  constrictor, 
and  are  employed  very  generally  in  Brazil  to  catch  rats. 
They  are  inoffensive,  apparently  not  at  all  venomous,  and 
in  their  domesticated  condition,  perfectly  tame. 

Tn  his  habits  Pedro  was  a  good  example  of  his  race, 
though  he  was  of  larger  size  than  the  average. 

All  day  long  he  slept  somewhere  in  the  house.  But 
after  nightfall  he  glided  swiftly  about  the  premises,  look- 
ing for  rats. 

He  even  had  holes  which  enabled  him  to  get  between 
the  floors  and  ceilings,  and  into  the  space  within  the  par- 
titions. 

Whenever  he  found  a  rat  he  pounced  upon  him,  wrap- 
ped him  in  his  folds  and  carried  him  out  of  the  house, 
leaving  him  dead.  The  servants  told  me  that  the  backbone 
of  every  rat  he  caught  was  broken  in  at  least  a  dozen 
places. 

As  for  me,  I  preferred  the  rats  to  the 


[60] 


3.  A  speaker  is  in  the  mood  called  Emotion,  when  the 
way  something  affects  him, — the  way  he  feels,  is  more 
noticeable  than  the  thing  he  is  thinking  or  doing.  The 
feelings  (joy,  grief,  sternness,  gentleness,  fear,  friendli- 
ness, etc.)  show  themselves  by  the  quality  of  tone  used; 
whether  it  is  pure,  breathy,  agitated,  tense,  etc.  Quality 
of  tone  is  sometimes  called  texture  of  tone,  or  tone  color. 

The  "fire-drill"  is  common  in  most  Western  schools. 
The  children  are  drilled  frequently;  at  a  given  signal 
every  child  is  taught  to  take  his  place  in  the  line, 
and  moving  in  precise  step  and  keeping  time  to  a  drum, 
they  leave  the  schoolhouse  without  confusiota. 

Principal  Allen  was  proud  of  the  fact  that  his  five 
hundred  children  could  be  marched  out  of  the  big  build- 
ing in  about  two  minutes. 

One  day  a  teacher  dashed  into  the  principal's  room 
with  the  cry  that  the  building  was  on  lire.  The  principal 
rang  his  gong,  and  there  was  an  immediate  stampede  of 
children  from  the  rooms.  No  one  remembered  the  fire- 
drill  or  the  drum,  except  the  drummer. 

Without  a  word  to  any  one,  and  without  waiting  for 
an  order,  he  ran  down  two  flights  of  stairs  into  the  prin- 
cipal's room,  seized  the  drum  from  its  hook,  slung  the 
strap  over  his  shoulder,  and  made  his  way  to  his  post 
at  the  foot  of  the  stairs. 

The  smoke  was  dense  in  the  hall,  and  up-stairs  the 
teachers  were  shouting  to  the  children,  trying  to  calm 
the  panic.  The  fire-engines  wrere  at  work  outside. 

Just  as  the  five  hundred  pupils  appeared  at  the  top  of 
the  stairs  ready  to  rush  down,  to  the  certain  death  of 
many  in  such  a  crush,  the  first  notes  of  the  drum,  pounded 
with  all  the  drummer's  might,  were  heard  above  the  con- 
fusion. The  sound  acted  like  a  spell. 

The  principal,  pulling  from  under  the  feet  of  the  rush- 
ing children  some  of  the  small  ones  who  had  already 
fallen,  shouted  for  them  to  keep  step  to  the  music.  In- 
stantly the  force  of  long  habit  asserted  itself;  the  feet 
fell  in  orderly  succession,  and  the  entire  mob  of  children 
came  down  the  stairs  as  calmly  and  evenly  as  if  on  parade, 
as  they  had  done  a  thousand  times  before. 

The  smoke  was  pouring  about  them,  but  in  less  time 
than  it  takes  to  tell  it,  the  last  child  had  passed  safely  out, 
keeping  time  to  the  music  of  the  drum. 

The  drummer  remained  at  his  post  until  informed  by 
Mr.  Allen  that  every  one  was  safe.  He  had  saved  the 
lives  of  many  children  and  teachers  by  his  coolness  and 
bravery,  and  when  he  came  down  the  steps  he  was 
greeted  by  a  storm  of  cheers  from  the  crowd  outside. 

[61] 


Mr.  Ingersoll  was  once  thrown  incidentally  into  the 
society  of  Henry  Ward  Beecher.  There  were  four  or  five 
prominent  gentlemen  present,  and  various  topics  were  dis- 
cussed, with  decided  brilliancy,  but  no  allusion  to  religion. 
Mr.  Ingersoll  was,  of  course,  too  polite  to  introduce  the  sub- 
ject himself,  but  one  of  the  party,  finally  desiring  to  see  a 
tilt  between  Beecher  and  Ingersoll,  made  a  remark  about 
Colonel  Bob's  idiosyncracy,  as  he  termed  it.  The  colonel 
at  once  defended  his  views,  with  his  usual  apt  rhetoric,  and 
was  replied  to  by  several  gentlemen  in  very  effective  re- 
partee. 

Contrary  to  the  expectation  of  all,  Mr.  Beecher  said  not 
a  word.  The  gentleman  who  introduced  the  topic  with 
the  hope  that  Mr.  Beecher  would  answer  Col.  Ingersoll, 
at  last  remarked:  "Mr.  Beecher,  have  you  nothing  to  say 
in  regard  to  the  question?"  The  old  man  slowly  lifted 
himself  from  his  attitude,  and  replied:  "Nothing;  in  fact, 
if  you  will  excuse  me  for  changing  the  conversation,  I 
will  say  that  while  you  gentlemen  were  talking,  my  mind 
was  bent  on  a  most  deplorable  spectacle  whlcn  I  witnessed 
today/' 

"What  was  it?"  at  once  inquired  Colonel  Ingersoll. 

'  'Why,'  said  Mr.  Beecher,  'as  I  was  walking  down 
town  today,  I  saw  a  poor  cripple  slowly  and  carefully 
picking  his  way  through  a  cesspool  of  mud,  in  the  en- 
deavor to  cross  the  street.  He  had  just  reached  the 
middle  of  the  filth  when  a  big  bully,  himself  all  bespat- 
tered with  mud,  rushed  up  to  him,  jerked  the  crutches 
from  under  the  unfortunate  man,  and  left  him  sprawling 
and  quite  helpless  in  the  pool  of  liquid  dirt,  which  almost 
engulfed  him." 

''What  a  brute  he  was!'  said  the  colonel.  'What  a 
brute  he  was!'  they  all  echoed. 

"  'Yes,  said  Mr.  Beecher,  rising  from  his  chair,  and 
brushing  bark  his  long,  white  hair,  while  his  eyes  glit- 
tered with  their  old-time  fire;  'yes,  Colonel  Ingersol,  and 
you  are  the  man.  The  human  soul  is  lame,  but  Christi- 
anity gives  crutches  to  it  to  pass  the  highway  of  life.  It 
is  your  teaching  that  knocks  the  crutches  from  under  it, 
and  leaves  a  helpless  and  rudderless  wreck  in  the  slough 
of  despond.  If  robbing  the  human  soul  of  its  only  support 
on  this  earth — religion — be  your  profession,  why,  ply  it  to 
your  heart's  content.  It  requires  an  architect  to  erect  a 
building;  an  incendiary  may  reduce  it  to  ashes.'" 


4.  The  mood  of  utterance  we  call  "Volition,"  is  ex- 
pressed by  pressure  of  tone,  sometimes  called  stress. 
Notice  how  this  pressure  makes  the  tone  more  vibrant 
and  determined  in  some  parts  of  the  following  passages: 

[62] 


While  President  Faure  of  France  was  on  a  visit  to 
Russia  he  heard  a  number  of  stories  of  Peter  the  Great. 
On  his  return  he  told  this: 

"Once  in  the  imperial  palace  Peter  was  at  table  with 
a  great  many  princes  and  noblemen,  and  soldiers  were 
posted  within  the  hall.  The  C'/,ar  was  in  a  joyous  mood, 
and  rising1,  called  out  to  the  company: 

"Listen,  princes  and  boyars;  is  there  among  you  one 
who  will  wrestle  with  me,  to  pass  the  time  and  amuse 
the  czar?" 

There  was  no  reply,  and  the  czar  repeated  his  chal- 
lenge. No  prince  or  nobleman  dared  wrestle  with  his 
sovereign.  But  all  at  once  a  young  dragoon  stepped  out 
from  the  ranks  of  the  soldiers  on  guard. 

"Listen,  orthodox  czar,"  he  said,  "I  will  wrestle  with 
thee!" 

"Well,  young  dragoon,"  said  Peter,  "I  will  wrestle  with 
thee,  but  on  these  conditions:  if  thou  throwest  me,  I  will 
pardon  thee:  but  if  thou  art  thrown,  thou  shalt  be  be- 
headed. Wilt  thou  wrestle  on  these  conditions?" 

"I  will,  grent  czar!"  said  the  soldier. 

They  closed,  and  presently  the  soldier,  with  his  left 
arm,  throw  the  o/ar,  and  with  his  right  he  prevented  him 
from  falling  to  the  ground.  The  sovereign  was  clearly 
beaten. 

The  czar  offered  the  soldier  whatever  reward  he  should 
claim,  and  the  soldier  ignobly  claimed  the  privilege  of 
drinkins:  free,  as  long  as  he  lived,  in  all  the  inns  belonging 
to  the  crown. 

What  became  of  him  history  does  not  say,  but,  no 
doubt  it  would  have  been  better  for  him  if  the  czar  had 
thrown  him. 

Patrick  Sweeny,  the  faithful  watchman  on  the  New 
York  Central  Railroad,  a  man  eighty-five  years  old,  six 
feet  tall  and  over,  and  of  wonderful  strength  and  vigor, 
was  the  only  man  who  did  not  strike  in  the  recent  trouble 
a-mong  the  yardmen  and  switchmen  on  the  line.  But  the 
thing  he  .is  best  remembered  for  is  his  conduct  at  Stuy- 
vesant,  where  he  was  switchman,  away  back  in  1862.  Fif- 
teen carloads  of  Federal  troops  on  a  special  train  for  New 
York  were  held  up  by  Sweeny  because  the  train  which 
preceded  it,  had  carried  no  signal  to  give  warning  of  the 
special  just  behind  it.  The  comma-nder  leaped  from  the 
car  and  ordered  the  switch  unlocked,  enforcing  his  orders 
at  the  point  of  his  sword,  Sweeny  refused,  and  they  hustled 
him  into  his  shanty,  and,  with  half  a  dozen  muskets  with- 
in three  inches  of  his  head,  he  was  given  one  minute  to 
give  up  his  key  and  let  the  train  go  on.  "Not  wan  step 
does  this  train  move!"  said  S\yeeny.  The  officer's  answer 
was  interrupted  by  a  loud  whistle,  and  the  train  from  Al- 
bany came  flying  'by,  and  there  were  no  more  threats  or 

[63] 


angry  words  for  Sweeny.    His  faithfulness  and  courage 
had  saved  the  lives  of  a  whole  train-load  of  soldiers. 

A  young  Yorkshire  skipper  who  had  left  a  wife,  two 
young  children,  and  a  happy  home  on  the  land— himself 
pledged  not  to  touch  the  liquor — had  weakly  visited  the 
grog  vessel  to  get  tobacco.  He  was  at  once  asked  to  drink, 
but  refused.  He  was  dared.  He  refused.  He  was  dared 
to  take  "von  leetle  drop."  In  a  fatal  moment  he  mistook 
what  real  courage  meant,  and  tossed  off  a  glass  of  ani- 
seeded  brandy.  Alas,  it  didn't  end  there! 

At  night,  as  he  had  'not  returned,  and  the  wind  was 
rising,  his  mate  came  for  him,  and  the  crew  of  the  grog 
vessel  dumped  the  now  unconscious  skipper  into  the 
small  boat.  With  great  difficulty  the  crew  dragged  his  in- 
sensate body  on  to  his  own  vessel  and  laid  him  in  the  lee 
scupper  to  cool  off,  while  they  reefed  the  ship  down  to 
meet  the  threatening  storm. 

A  little  later  the  spray  driving  over  the  ship  roused 
the  skipper,  and,  staggering  to  his  feet,  he  came  aft  to  the 
tiller.  "Give  us  the  tiller,  Ben,"  he  said.  "No,"  no,  skip- 
per, you  are  not  well  enough  to  steer.  Go  down  and  turn 
in;  we'll  look  after  the  ship."  "Give  us  the  tiller,"  roared 
the  skipper:  "I'll  steer  the  old  ship  to  hell  if  I  like."  He 
had  scarcely  seized  the  helm  when  a  sea  struck  the  rudder, 
she  kicked,  and  the  tiller,  catching  him  in  the  belly,  flung 
him  over  the  side. 

He  was  lost  in  the  darkness,  without  a  sound. 

Sadly,  with  flag  half-mast,  the  craft  picked  her  way 
homewards,  and  the  mate  had  the  duty  of  telling  the  wife 
that  her  children  were  fatherless  and  that  her  fine  young 
husband  had  found  a  drunkard's  grave  at  sea. 

Give  each  of  the  incidents  in  these  two  lessons  as  viv- 
idly as  if  you  had  been  present. 


[64] 


LESSON  XIX 


By  gesture  we  mean  every  movement  and  attitude  of 
the  body  by  which  a  person  expresses  his  thought  and 
feeling.  Gesture  includes  (1)  bearing  (the  carriage  and 
attitude  of  the  whole  body),  (2)  gesticulation  (of  the  hand 
and  arm),  and  (3)  facial  expression. 

Gesture  has  been  called  a  universal  language,  because 
it  expresses  thought  and  feeling  in  such  a  way  that  even 
a  foreigner  can  get  the  general  meaning. 

Represent  to  the  class,  without  using  words,  a  man 
buying  (a)  a  collar  in  a  foreign  store;  (b)  a  pocket-knife; 
(c)  a  cake  of  soap. 

One  cannot  express  through  gesture  alone  any  thought 
that  is  riot  simple,  and  it  is  generally  used  more  in  the  ex- 
pressing of  feelings  than  of  thoughts. 

But  gestures  are  not  something  vague  and  intangible. 
They  have  definite  significance.  The  same  words  with 
different  gestures  convey  very  different  meanings.  Take 
the  sentence,  "I  shall  come  tomorrow.1' 

1.  Express  in  these  words  a  child's  joy  at  the  thought 

of  going  to  his  grandfather's. 

2.  Give  the  same  words  in  such  a  way  as  to  express  a 

hired  man's  question. 

3.  Give  them  to  express  the  fierce  threat  of  an  enemy. 

4.  Give  them  as  the  threat  of  a  powerful  king. 

As  you  put  yourself  in  the  place  of  these  four  different 
persons  you  use  different  gestures  of  body,  hand,  and  face 
to  express  the  four  different  meanings.  Perhaps  you  were 
unconscious  of  your  different  attitudes  and  movements,  but 
the  purpose,  or  significance,  was  there  whether  conscious 
or  not.  Indeed  most  of  our  purposes  become  unconscious, 
or  to  speak  more  correctly,  sub-conscious,  through  habit. 
When  a  child  is  learning  to  walk  he  is  painfully  con- 
scious of  his  purpose  to  place  his  feet  properly  and  main- 
tain his  balance.  When  he  grows  up  he  has  the  same 
purpose  but  he  is  not  conscious  if  it,  it  has  become  a 
habit.  So  with  riding  a  bicycle,  you  intend  to  steer  clear 

[65] 


of  trees  and  ditches,  but  you  steer  instinctively,  not  with 
a  conscious  purpose;  yet  every  pressure  of  your  hands  on 
the  handle-bars,  and  every  movement  of  your  body  in  bal- 
ancing, lias  a  purpose  and  significance  although  it  has 
become  instinctive,  or  sub-conscious,  through  habit. 

In  a  similar  way  every  gesture  has  meaning,  it  shows 
some  purpose,  though  it  may  be  sub-conscious.  That  is, 
every  gesture  signifies  something  whether  you  make  it 
intentionally  or  instinctively.  The  speaker  does  not  in- 
tend to  twitch  his  lingers  or  his  cuffs,  but  those  move- 
ments signify  something;  they  show  that  he  is  nervous  or 
embarrassed. 

We  occasionally  hear  some  superior  person  remark: 
"I  prefer  to  stand  quietly,  without  making  any  gestures, 
arid  speak  in  a  dignified  manner."  Let  us  suppose  this 
gentleman  has  invited  a  friend  to  come  and  visit  him.  A 
carriage  rolls  up,  the  guesf  alights,  and  eagerly  comes  up 
the  steps.  The  gfni!em;m  stands  quietly  in  the  doorway, 
without  making  any  gesture,  and  speaks  in  a  dignified 
manner,  (perhaps  keeping  both  hands  behind  his  back.; 
"I  am  glad 'to  welcome  you  on  this  occasion."  But  the 
guest  seems  to  feel  a  chilliness  in  this  gesture-less  wel- 
come, for  he  stops  half  way  up  the  steps,  and  mutters  to 
himself:  "His  words  are  good  enough  but  his  actions  con- 
tradict his  words.  I  don't  believe  he  is  really  glad  to 
have  ino  come.'' 

It  is  there  fore  an  error  to  say  Mr.  So-and-so  does  not 
use  any  gestures.  If  he  keeps  his  hands  behind  him,  holds 
the  reading-desk  with  both  hands,  rises  on  his  toes  or 
heels,  or  shifts  uneasily  from  one  foot  to  the  other, — all 
this  is  gesture,  and  it  all  signifies  something.  If  he  stands 
as  stiff  as  a  bit  of  pasteboard,  he  is  gesturing;  just  as 
truly  as  if  he  were  swinging  his  arms  like  a  windmill. 

The  practical  question,  then,  is  not  "shall  I  use  ges- 
tures?" but  "shall  I  use  gestures  that  reveal  my  awkward- 
ness, my  fear  of  the  audience,  my  desire  to  be  admired;  or 
shall  I  learn  to  use  gestures  that  will  help  me  to  express 
exactly  what  I  mean,  and  exactly  how -I  feel?" 

In  our  study  of  gesture  we  shall  begin  with  Bearing 
because  that  is  the  most  important  part  of  gesture. 

The  whole  mind  is  in  harmony,  and  the  whole  body 
should  be  also;  all  parts  unitedly  express  the  same  thing. 

[66] 


Ii  the  mind  is  in  a  questioning  attitude,  the  hand  will  be 
also,  so  will  the  feet,  and  the  face. 

The  carriage  of  the  whole  body  effects  and  modifies  the 
particular  gestures  of  hand  or  face.  For  example,  in  the 
type  of  thought  we  call  Presentation  the  gestures  will  be 
fewer  and  smaller  than  in  Emotion.  In  Discrimination 
they  will  be  more  precise,  in  Volition  more  firm,  direct 
and  vigorous.  The  gesture  of  "pointing  out"  some  object 
or  some  idea  may  be  made  in  one  case  by  a  slight  motion 
of  the  hand  and  wrist,  in  another  by  the  action  of  the 
whole  arm.  If  the  mind  is  calm,  it  will  be  made  one  way: 
if  excited,  it  will  be  made  another  way. 

Since  one's  bearing  is  largely  dependent  on  the  posi- 
tion of  his  feet,  we  shall  label  the  different  attitudes  of  the 
body  Feet  Attitudes.  But  there  is  some  danger  in  using 
a  name  that  does  not  fully  describe,  and  we  must  not 
forget  that  these  are  riot  merely  positions  of  ilie  feet,  but 
are  attitudes  of  the  whole  body.  Indeed  they  might  truly 
be  called  Mind  Attitudes,  for  they  show  the  different  atti- 
tudes of  the  mind. 

EXERCISES 

Describe  Exercises  13-15  as  clearly  and  vividly  as  you 
would  if  giving  them  for  the  first  time  to  a  class  of 
your  own.  Then  lead  the  class  in  practicing  them 
correctly. 

REVIEW  QUESTIONS 

1.  What  are  gestures? 

2.  What  are  gestures  for? 

3.  Have  gestures  any  definite  meaning?    Do  they  convey 
thought  and  feeling? 

4.  Can  the    same    words   mean  different  things  when 

given  with  different  tones  and  gestures? 

5.  If  a  man  is  frequently  touching  his  cuffs,  feeling  his 

necktie,  or  his  mustache,  do  these  gestures  mean 
anything? 

6.  Will  Emotion  or  Discrimination  have  the  more  pre- 

cise gestures? 

7.  Will  Presentation  have  quicker  gestures  than  Voli- 

tion? 

8.  In  which  mood  will  the  speaker  make  the  fewest  ges- 

tures? 

[67] 


9.  In  which  mood  will  the  speaker  make  the  largest 
gestures? 

10.  What  is  the  difference  between  gesture  and  gesticu- 

lation? 

11.  What  two  other  names  might  we  give  to  the  Feet 

Attitudes? 

12.  Give  these  words,  "What  is  truth?"  so  as  to  convey 

different  meanings: 

a.  How  does  the  hardened,  careless,  sneering  Pilate 

say  it? 

b.  How  would  the  words  be  said  by  the  thoughtful, 

perplexed   Nicodemus,  who   has   tried   hard     to 
understand? 

c.  How  would  the  eager,  adoring  Mary  say  it? 

d.  Is  this  the  same  thought  in  each  case,  or  is  the 

thought  different,  though  the    words    are    the 
same? 

13.  When  a  student  says,  "I  want  help  on  my  oration, 

but  I  don't  want  to  put  in  any  gestures,"  what 
would  you  say? 

14.  Do  a  speaker's  gestures  ever  contradict    his  words? 

Ought  they  to  do  so? 


[68] 


FEET  ATTITUDES 


LESSON  XX 


For  convenience  we  shall  study  the  Feet  Attitudes  in 
three  sections.  Those  attitudes  in  which  the  weight  of  the 
body  is  on  both  feet,  those  in  which  the  weight  is  on  the 
rear  foot,  and  those  in  which  the  weight  is  on  the  front 
footn-it  makes  no  difference  whether  the  right  or  left  foot 
be  forward. 

Weight  on  Both  Feet: 

1.  Heels  together,  expresses  Deference. 

2.  Far  apart,  weight  on  heels,  Swaggering. 

3.  Far  apart,  weight  on  balls,  Stedfastness. 

4.  One  advanced,  Hesitation. 

Weight  on  Back  Foot: 

5.  Front  leg  relaxed,  Repose. 

6.  Front  leg  braced,  Antagonism. 

7.  Front  leg  straight  and  strong  leg  bent,  Recoil. 

Weight  on  Front  Foot: 

8.  Free  leg  relaxed,  Animation. 

9.  Strong  leg  bent,  Explosion. 
10.  Transition. 

1.  Deference-    In  the  attitude  of  Deference,  you  defer 
to  somebody  else;  you  hold  your  own  plans  or  wishes  in 
check  and  allow  the  other  person  to  have  his  way.  Defer- 
ence is  the  typical  attitude  of  a  servant: 

Did  you  call  me,  Sir? 

or,   of  one  yielding   himself  to   another's   direction: 
I  am  ready,  Sir,  to  follow  you. 

or,  of  a  man  giving  up  his  own  rights  to  his  guest: 

You  are  welcome  to  my  house. 
Will  you  take  a  chair? 

2.  Swaggering.    This  attitude  shows  reckless  indiffer- 
ence or  easy-going,  rather  insolent  carelessness: 

Oh,  yes  I'll  do  it  if  you  want  me  to. 
[69] 


I  can  as  well  be  hanged  as  tell  the  manner  of  it.  They 
offered  him  a  crown,  yet  'twas  not  a  crown  neither,  'twas 
one  of  these  coronets. 

3.  Stedfastness.    This  attitude  shows  tliat  one  is  reso- 
lutely upholding  an  important  truth,  or  a  great  cause.    It 
indicates  established  strength,  and  firm  foundations.    The 
fact  that  a  statement  is  true  does  not  call  for  "stedfast- 
ness,"  it  demands  a  certain  grandeur  of  moral  earnestness. 

Three  millions  of  people  armed  in  the  holy  cause  of  lib- 
erty, .  .  .  are  invincible  by  any  force  which  our  enemy 
can  send  against  us. 

0  comrades,  warriors,  Thracians,  if  we  must  fight,  let 
us  fight  for  ourselves. 

Jehovah  that  delivered  me  out  of  the  paw  of  the  lion, 
a-nd  out  of  the  paw  of  the  bear,  he  will  deliver  me  out  of 
the  hand  of  this  Philistine. 

4.  Hesitation.     In  this  attitude  the  mind  is  drawn  two 
ways  at  once,   and   cannot  quite  decide  which  to  take; 
whether  it  is  wise  to  go  forward,  or,  safer  to  go  back. 

Listen,  is  that  the  enemy,  shall  we  go  this  way  or  this? 
Well— I  don'tj— know  what — to  say. 

1.  Study  the  following  selection  till  you  understand  it 

thoroughly. 

2.  Mark  any  cases  of  Deference,  Swaggering,  Stedfast- 

ness, or  Hesitation  in  it. 

CRIME  ITS  OWN  DETECTOR 

Against  the  prisoner  at  the  bar,  as  an  individual,  I  can- 
not have  the  slightest  prejudice.  I  would  not  do  him  the 
smallest  injury  or  injustice.  But  I  do  not  affect  to  be  in- 
different to  the  discovery  and  the  punishment  of  this  deep 
guilt.  An  aged  man,  without  an  enemy  in  the  world,  in  his 
own  house,  and  in  his  own  bed,  is  made  the  victim  of  a 
butcherly  murder,  for  mere  pay.  The  circumstances  now 
clearly  in  evidence  spread  out  the  whole  scene  before  us. 
Deep  sleep  had  fallen  on  the  destined  victim,  and  on  all  be- 
neath his  roof.  A  healthful  old  man,  to  whom  sleep  was 
sweet— the  first  sound  slumbers  of  the  night  held  him  in 
their  soft  but  strong  embrace. 

The  assassin  enters  through  the  window,  already  pre- 
pared, into  an  unoccupied  apartment;  with  noiseless  foot 
he  paces  the  lonely  hall,  half  lighted  by  the  moon;  he 

[70] 


winds  up  the  ascent  of  the  stairs,  and  reaches  the  door  of 
tiie  chamber.  01  this  he  moves  the  lock,  by  soft  and  con- 
tinued pressure,  till  it  turns  on  its  hinges;  and  he  enters 
.and  beholds  his  victim  before  him.  The  room  was  uncom- 
monly light.  The  face  of  the  innocent  sleeper  was  turned 
from  the  murderer;  and  the  beam's  of  the  moon  resting 
on  the  gray  locks  of  his  aged  temple  showed  him  where 
to  strike.  The  fatal  blow  is  given,  and  the  victim  passes, 
without  a  struggle  or  a  motion,  from  the  repose  of  sleep 
to  the  repose  of  death!  It  is  the  assassin's,  purpose  to 
make  sure  work;  a-nd  he  yet  plies  the  dagger,  though  it 
was  obvious  that  life  had  been  destroyed  by  the  blow  of 
the  bludgeon.  He  even  raises  the  aged  arm,  that  he  may 
not  fail  in  his  aim  at  the  hea-rt,  and  replaces  it  again  over 
the  wounds  of  the  poniard!  To  linish  the  picture,  he  ex- 
plores the  wrist  for  the  pulse!  he  feels  it,  and  ascertains 
that  it  beats  no  longer!  it  is  accomplished!  The  deed  is 
done!  He  retreats— retraces  his  steps  to  the  window, 
passes  through  as  he  came  in.  and  escapes.  He  has  done 
the  murder;  no  eye  has  seen  him,  no  ear  has  heard  him; 
the  secret  is  his  own,  and  he  is  safe! 

Ah!  gentlemen,  that  was  a  dreadful  mistake.  Such  a 
secret  can  be  safe  nowhere.  The  whole  creation  of  God 
has  neither  nook  nor  corner,  where  the  guilty  can  bestow 
it  and  say  it  is  safe.  A  thousand  eyes  turn  at  once  to  ex- 
plore every  man,  every  tiling,  every  circumstance,  con- 
nected with  the  time  and  place;  a' thousand  ears  catch 
every  whisper;  a  thousand  excited  minds  intently  dwell 
on  the  scene:  shedding  all  their  light,  and  ready  to  kindle 
the  slightest  cireurnstp.nce  into  the  blaze  of  discovery. 
Meantime  the  guilty  soul  cannot  keep  its  own  secret.  It  is 
false  to  itself— or  rather  it  f-els  an  irrestible  impulse  of 
conscience  to  be  true  to  itself — it  labors  under  its  guilty 
possession  and  knows  not  what  to  do  with  it.  He  feels  it 
beating  at  his  heart,  rising  to  his  throat,  and  demanding 
disclosure.  He  thinks  the  whole  world  sees  it  in  his  face, 
reads  it  in  his  eyes,  and  almost  hears  its  workings  in  the 
very  silence  of  his  thoughts.  Tt  has  become  his  master;— 
it  betrays  his  discretion;  it  breaks  down  his  courage;  it 
conquers  his  prudence.  Whon  suspicions,  from  without, 
begin  to  ombarass  him,  and  the  net  of  circumstances  to 
entangle  him,  the  fatal  secret  struggles  with  still  greater 
violence  to  hurst  forth.  Tt  must  be  confessed,  it  will  be 
confessed;  tbore  is  no  refuge  from  confession  but  in  sui- 
cide, arid  suicide  is  confession.  —Daniel  Webster. 

EXERCISES 

Describe  exercises  16-17  as  clearly  and  vividly  as  you 
would  if  giving  them  for  the  first  time  to  a  class  of  your 
own.  Then  lead  the  class  in  practising  them  correctly. 

[71] 


REVIEW  QUESTIONS 

1.  Does  a  speaker  always  stand  in  a  typical  Feet  At- 

titude? Are  these  types  ever  modified? 

2.  Does  it  matter  which  foot  is  forward  in  "Repose1'?  In 

"Animation?" 

3.  Which  is  more  important,  the  position  of  the  feet  or 

the  attitude  of  the  whole  body? 

4.  Form  a  mental  picture  of    Deference,     Swaggering, 

Steadfastness,  etc.    Do  not  think  "feet  apart"   but 
think  "swagger." 


[72] 


LESSON  XXI 


5.  Repose.     In  this  attitude  one's  mind  is  restful  and 
comfortable,  in  perfect  control    of    itself  and  of  its  sur- 
roundings.   This  is  the  normal  condition;  the  mind  is  at 
ease,  not  stirred  by  any  great  thought  or  strong  feeling.  In 
conversation  and  generally  in  addresses,  more  than  half  the 
utterances  will  be  in  Repose. 

But  now,  in  this  Valley  of  Humiliation,  poor  Christian 
was  hard  put  to  it:  for  he  had  gone  but  a  little  way  before 
he  espied  a  foul  fiend  coming  over  the  field  to  meet  him: 
his  name  is  Apollyon. 

John  Maynard  was  well-known  in  the  lake  district  as  a 
God-fearing,  honest,  and  intelligent  pilot.  He  was  pilot 
on  a  steamboat  from  Detroit  to  Buffalo. 

He  has  done  the  murder;  no  eye  has  seen  him,  no  ear 
has  head  him,  the  secret  is  his  own,  and  he  is  safe. 

My  early  life  ran  quiet  as  the  brooks  by  which  I 
sported,  and  when  at  noon  I  gathered  the  sheep  beneath  the 
shade,  and  played  upon  the  shepherd's  flute,  there  was  a 
friend,  and  the  son  of  a  neighbor,  to  join  me  in  the  pastime. 

6.  Antagonism.    By  this  we  do  not  mean  pugnacity.    An- 
tagonism is  not  a  desire  to  fight,  but  a  bracing  one's-self 
against  something  unpleasant  or  inferior,  together  with  a 
strong  sense  of  one's  own  worth  or  even  one's  superiority. 
In  this  attitude  one  draws  himself  back,  or  draws  him- 
self up,  in  Dignity,  in  Authority,  in  Pride,  in  Scorn,  or  in 
Defiance.    These  of  course  express  different  degrees  of  an- 
tagonism.   Douglas  takes  an  extreme  form  of  this  attitude 
when  he  refuses  to  shake  hands  with  Marmion. 

My  manors,  halls  and  bowers  shall  still 

Be  open  at  rny  sovereign's  will, 
To  each  one  whom  he  lists,  howe'er 

Unmeet  to  be  the  owner's  peer. 

The  Praetor  drew  back,  as  I  were  pollution,  and  sternly 
said,  "Let  the  carrion  rot,  there  are  no  noble  men  but 
Romans." 

Simpson,  go  below  and  see  what  the  matter  is  down 
there. 

[73] 


Is  life  so  clear,  or  peace  so  sweet,  as  to  be  purchased  at 
the  price  of  chains  and  slavery? 

Which  kind  of  antagonism  is  expressed  In  each  of  these 
examples? 

7.  Recoil.  This  is  the  attitude  when  one  is  startled,  or 
shrinks  back  in  fear,  or  in  horror. 

Note:  We  rarely  see  an  example  of  the  extreme  type  of 
Recoil  on  tiie  public  platform,  but  milder  typos,  sugges- 
tions of. this  attitude  are  frequent.  Only  a  small  part,  of 
course,  of  the  two  passages  below  would  be  spoken  in 
"recoil,"  but  the  context  is  given  so  that  the  student  can 
approach  I  he  "recoil"'  more  naturally. 

Brutus.    ()  ('assius  T  am  sick  of  many  griefs. 

Cassius.    Of  your  philosophy  you  make  no  use,  if  you  give 

place  to  accidental  evils. 

Brutus.      No    man    bears    sorrow    better.     Portia    is    dead. 
Cassius.     Ha!   Portia! 

(William   TH1   the  Swiss  patriot  in  chains  before  the 
Ausirian   invader  (lesler.) 
G-esler.     Beware!   think  on  thy  chains. 
Tell.    Though  they  were  doubled,  and  did  weigh  me  down 

prostrate  to  earth,  iwfhinks  I  could  rise  up  erect,  with 

noMiiiur  but   the  horn  st  pride  of  telling  thee,  usurper, 

f.o  thy  teeth,  thou  are  a  monster  .... 
Gesler.      ito   officer;    Lead    in    his   son.     Now  will    T   take 

•exquisite  venueance.     (To  Tell)  T  have  destined  him  to 

die  alonu'  with  thee. 
Tell.    To  die!  for  what?    Ho's  but  a  child. 

1.  Mark  in  the  margin  below  all  the  examples  you  rec- 

ognize of  the  seven  kinds  of  feet  attitudes  .so  far 
studied. 

2.  Give  these  heartily,  without  the  book,  of  course,  even 

if  you  do  not  give  the  exact  worus. 

MARMION  TAKING  LEAVE  OF  DOUGLAS. 

The  train  from  out  the  castle  drew; 
But  Marmion  stopped  to  bid  adieu — 

"Though  something  I  might  plain"  he  said. 
"Of  cold  respect  to  stranger  guest, 
Sent  hither  by  your  king's  behest, 

While  in  Tantallon's  towers  I  stayed  — 
Part  wo  in  friendship  from  your  land, 
And  noble  earl,  receive  my  hand." 
But  Douglas  round  him  drew  his  cloak, 
Folded  his  arms,  and  thus  he  spoke: 
[74] 


"My  manors,  halls  and  bowers,  shall  still 
Be  open,  at  my  sovereign's  will, 

To  each  one  whom  he  lists,  howe'er 
Unmeet  to  be  the  owner's  peer. 

My  castles  are  my  king's  alone, 

From  turret  to  foundation-stone — 
The  hand  of  Douglas  is  his  own; 
And  never  shall  in  friendly  grasp 
The  hand  of  such  as  Marmion  clasp!" 

Burned  Marmion's  swarthy  cheek  like  fire, 
And  shook  his  very  frame  for  ire, 

And — "This  to  me!"  he  said; 

"An't  were  not  for  thy  hoary  beard, 
Such  hand  as  Marmion's  had  not  spared 

To  cleave  the  Douglas  head! 
And,  Douglas,  more  I  tell  thee  here, 
Even  in  thy  pitch  of  pride, 

Here  in  thy  hold,  thy  vassals  near, 

I  tell  thee,  thou'rt  defied! 
And  if  thou  saidst  I  am  not  peer 

To  any  Lord  in  Scotland  here, 

Lowland  or  Highland,  far  or  near, 
Lord  Angus,  thou  hast  lied!" 

On  the  earl's  cheek  the  flush  of  rage 

O'ercame  the  ashen  hue  of  age; 

Fierce  he  broke  forth:  "And^darest  thou,  then, 
To  beard  the  lion  in  his  den — 
The  Douglas  in  his  hall? 

And  hopest  thou  hence  unscathed  to  go? 

No,  by  Saint  Bride  of  Bothwell,  no! 
Up  drawbridge,  grooms! — what,  warder,  ho! 

Let  the  portcullis  fall." 
Lord  Marmion  turned — well  was  his  needj — 

And  dashed  the  rowels  in  his  steed; 
Like  arrow  through  the  archway  sprung, 
The  ponderous  gate  behind  him  wrung; 
To  pass  there  was  such  scanty  room, 
The'bars,  descending,  razed  his  plume. 

The  steed  along  the  drawbridge  flies, 

Just  as  it  trembled  on  the  rise: 

Nor  lighter  does  the  swallow  skim 

Along  the  smooth  lake's  level  brim: 

And  when  Lord  Marmion  reached  his  band, 

He  halts,  and  turned  with  clenched  liand, 

And  shout  of  loud  defiance  pours, 

And  shook  his  gauntlet  at  the  towers! 

—Sir  Walter  Scott. 

EXERCISES 

Describe  exercises  18-20  briefly  and  vividly,  then  lead 
the  class  in  practicing  them.    Be  prompt  and  accurate. 

[75] 


LESSON  XXII 


8.  Animation  is  the  attitude  of  body  that  expresses  alert- 
ness,  earnestness,   eagerness.     The   speaker   instinctively 
gets  nearer  to  his  hearer  as  he  becomes  more  urgent;  thus 
Animation  tends  to  draw  near,  while  Antagonism  tends  to 
draw  away  from. 

Do  you  mean,  sir,  to  accuse  me  of  bribery? 

That  very  night  the  Romans  landed  on  our  coast. 

When  my  eyes  shall  be  turned  to  behold  for  the  last 
time  the  sun  in  heaven,  may  I  not  see  him  shining  on  the 
broken  and  dishonored  fragments  of  a  once  glorious  union; 
on  states  dissevered,  discordant,  belligerent,  on  a  land  rent 
with  civil  feuds,  or  drenched,  it  may  be,  in  fraternal  blood! 
Let  their  last  feeble  and  lingering  glance,  rather,  behold 
the  gorgeous  ensign  of  the  republic,  now  known  and  hon- 
ored throughout  the  earth,  still  full  high  advanced,  its 
arms  and  trophies  streaming  in  their  original  luster,  not 
a  stripe  erased  or  polluted,  nor  a  single  star  obscured, 
bearing  for  its  motto  no  such  miserable  interrogatory  as 
—What  is  all  this  worth?  Nor  those  other  words  of  de- 
lusion and  folly — Liberty  first  and  union  afterward;  but 
everywhere  spread  all  over  in  characters  of  living  light, 
blazing  on  all  its  ample  folds,  as  they  float  over  the  sea 
and  over  tho  land  in  every  wind  under  the  whole  heaven, 
that  other  sentiment,  dear  to  every  true  American  heart— 
Liberty  and  union;  now  and  forever,  one  and  inseparable! 

—Webster. 

If  ye  are  beasts;  then  stand  here  like  fat  oxen  waiting 
for  the  butcher's  knife.  If  ye  are  men,  follow  me.  Strike 
down  yon  guard,  gain  the  mountain  passes,  and  there  do 
bloody  work,  as  did  your  sires  at  old  Thermopylae. 

9.  Explosion  is  Animation  carried  to  the  extreme.  The 
speaker  is   so  over-eager  that  he  becomes   excited.     He 
leans  forward  so  eagerly  that  his  strong  knee  (the  one  on 
which  his  weight  is)    bends.     He  loses  poise,  he  almost 
loses  his  self-control. 

See  that  man  drowning  there,  throw  him  a  rope — quick. 

Burned  Marmion's  swarthy  cheek  like  fire, 
And  shook  his  very  frame  for  ire, 
And— "This  to  me!"  he  said. 

[76] 


If  it  will  feed  nothing  else  it  will  feed  my  revenge. 

In  the  following  passage  the  first  two  lines  are  Ani- 
mation, the  third  and  fourth  Repose,  the  fifth  Animation 
again,  which  in  the  sixth  passes  into  Explosion. 

"Once   more   unto   the   breach,   dear   friends,   once 

more, 

Or  close  the  wall  up  with  our  English  dead. 
In  peace  there's  nothing  so  becomes  a  man 
As  modest  stillness  and  humility: 
But  when  the  blast  of  war  blows  in  our  ears, 
Then  imitate  the  action  of  the.  tiger; 
Stiffen  the  sinews,  summon  up  the  blood, 
Disguise  fair  nature  with  hard-favor'd  rage; 
Now  set  the  teeth  and  stretch  the  nostril  wide, 
Hold  hard  the  breath  and  bend  up  every  spirit, 
To  his  full  height.    On,  on,  you  noblest  English, 
Whose  blood  is  fet  from  fathers  of  war-proof." 

Shakespeare's  Henry  V. 

10.  Transition.  When  one  turns  from  one  topic  to  an- 
other, or  from  one  aspect  of  a  topic  to  another,  it  is  nat- 
ural to  change  the  body  also.  Usually  the  speaker  moves 
from  Repose  with  the  weight  on  the  right  or  left  foot,  to 
Repose  with  the  weight  on  the  other  foot.  Sometimes  how- 
ever he  takes  a  step,  or  several  steps.  Such  transition  of 
body  should  not  occur  unless  there  is  transition  in  the 
thought. 

I  have  showed  you  the  proved  facts  gentlemen;  now 
from  such  facts  what  conclusion  are  we  forced  to  draw? 

And  then  besides  his  unimpeachable  character,  he  had 
what  is  half  the  power  of  a  popular  orator,  a  majestic 
presence. 

a.  Mark  the  Feet  Attitudes  of  the  following: 

1.  The  world  is  too  much  with  us;  late  and  soon, 
Getting  and  spending,  we  lay  waste  our  powers. 
Little  we  see  in  Nature  that  is  ours; 

We  have  given  our  hearts  away,  a  sordid  boon! 

2.  Great  in  life  he  was  surpassingly  great  in  death. 

3.  Thou  wilt  not  leave  us  in  the  dust: 
Thou  madest  man,  he  knows  not  why, 
He  thinks  he  was  not  made  to  die; 
And  thou  hast  made  him:  thou  art  just. 

4.  Speak,  what  trade  art  thou? 
Why,  sir,  a  carpenter. 

[77] 


5.  Charles  Sumner  insult  the  soldiers  who  had  spilled 
their  blood  in  a  war  for  human  rights! 

6.  ^apoleon   shouted   to   him:    "Beat    a   retreat."     The 
boy  did  not  stir.    "Gamin,  beat  a  retreat."    The  boy  stop- 
ped, grasped  his  drumsticks,  and  said:  "I  do  not  know  how 
to  beat  a-  retreat.    Desaix  never  taught  me  that.    But  I  can 
beat  a  charge.    Oh!  I  can  beat  a  charge  that  would  make 
the  dead  fall  into  line.  I  beat  that  charge  at  the  Pyramids; 
I  beat  that  charge  at  Mt.  Tabor;  I  beat  it  again  at  the  bridge 
of  Lodi.    May  I  beat  it  here?" 

b.  Find  two  examples  of  each  feet  attitude  in  David 
and  Goliath,  page  29. 

EXERCISES 

Describe  exercises  21-24  clearly,  vividly  and  briefly. 
Then  lead  the  class  in  practising  them.  Do  not  let  anyone 
perform  them  in  a  slovenly  way;  be  brisk  and  accurate. 


[78] 


LESSON  XXIII 


Feet   Attitudes    (continued) 

In  the  following  selection,  Mr.  Gradgrind  speaks  the 
first  paragraph,  then  the  author  explains  to  us  (in  the 
three  following  paragraphs)  \vhat  sort  of  man  Mr.  Grad- 
grind  is. 

1.  After   studying   the   selection,   mark   in   the  margin, 

the  Feet  Attitudes. 

2.  In  each  case  give  reasons  why  you  think  the  speak- 

er should  be  in  the  attitude  named. 

3.  What  is  the  usual  feet  attitude  in  Gradgrind?     Of 

the  government  officer?    Of  Sissy  Jupe? 

GRADGRIND'S  IDEA  OF  EDUCATION 

"Now  what  I  want  is  Facts.  Teach  these  boys  and 
girls  nothing  but  Facts.  Facts  alone  are  wanted  in  life. 
You  can  only  form  the  minds  of  reasoning  animals  upon 
Facts:  nothing  else  will  ever  be  of  any  service  to  them. 
This  is  the  principle  on  which  I  bring  up  my  own  chil- 
dren, and  this  is  the  principle  on  which  I  bring  up  these 
children.  Stick  to  Facts,  sir!  In  this  life  we  want  nothing 
but  Facts,  sir;  nothing  but  Facts!" 

The  speaker  and  the  schoolmaster,  and  the  third  grown 
person  present,  all  backed  a  little,  and  swept  with  their 
eyes  the  inclined  plane  of  little  vessels  then  and  there 
arranged  in  order,  ready  to  have  gallons  of  facts  poured 
into  them  until  they  were  full  to  the  brim. 

Thomas  Gradgrind,  sir.  A  man  of  realities.  A  man  of 
facts  and  calculations.  A  man  who  proceeds  upon  the  prin- 
ciple that  two  and  two  are  four,  and  nothing  over,  and  who 
is  not  to  be  talked  into  allowing  for  anything  over.  Thomas 
Gra-dgrind,  sir,  with  a  rule  and  pair  of  scales,  and  the  mul- 
tiplication table  always  in  his  pocket,  sir,  ready  to  weigh 
and  measure  any  parcel  of  human  nature,  and  tell  you 
exactly  what  it  comes  to. 

It  is  a  mere  question  of  figures,  a  case  of  simple  arith- 
metic. You  might  hope  to  get  some  other  nonsensical  be- 
lief into  the  head  of  George  Gradgrind,  or  Augustus  Grad- 
grind, or  John  Gradgrind.  or  Joseph  Gradgrind,  but  into  the 
head  of  Thomas  Gradgrind — no,  sir!  Indeed,  he  seemed  a 
kind  of  cannon  loaded  to  the  muzzle  with  facts. 

"Girl  number  twenty,"  said  Mr.  Gradgrind,  squarely 
[79] 


pointing  with  his  square  forefinger.    "I  don't  know  that 
girl.    Who  is  that  girl?" 

"Sissy  Jupe,  sir,"  explained  number  twenty,  blushing, 
standing  up,  and  courtesying. 

"Sissy  is  not  a  name,"  said  Mr.  Gradgrind.  "Don't  call 
yourself  Sissy.  Call  yourself  Cecilia." 

"Father  calls  me  Sissy,  sir,"  returned  the  young  girl 
in  a  trembling  voice,  and  with  another  courtesy. 

"Then  he  has  no  business  to  do  it,"  said  Mr.  Gradgrind. 
"Tell  him  he  mustn't.  Cecilia  Jupe.  Let  me  see.  What  is 
your  father?" 

"He  belongs  to  the  horse-riding,*  if  you  please,  sir." 

Mr.  Gradgrind  frowned,  and  waved  off  the  objectionable 
calling  with  his  hand. 

We  don't  want  to  know  anything  about  that,  here. 
You  mustn't  tell  us  about  that  here.  Your  father  breaks 
horses,  don't  he?" 

"If  you  please,  sir,  when  they  can  get  any  to  break,  they 
do  break  horses  in  the  ring,  sir." 

"You  mustn't  tell  us  about  the  ring  here.  Very  well, 
then.  He  doctors  sick  horses,  I  dare  say." 

"0  yes,  sir!" 

"Very  well,  then.  He  is  a  veterinary  surgeon,  a  far- 
rier, and  horse-breaker.  Give  me  your  definition  of  a 
horse."  Sissy  Jupe  was  thrown  into  the  greatest  alarm 
by  this  demand. 

"Girl  number  twenty  unable  to  define  a  horse!"  said 
Mr.  Gradgrind.  "Girl  number  twenty  possessed  of  no  facts, 
in  reference  to  one  of  the  commonest  of  animals!  Some 
boy's  definition  of  a  horse. — Bitzer,  yours." 

"Quadruped.  Graminiverous.  Forty  teeth,  namely, 
twenty-four  grinders,  four  eye  teeth,  and  twelve  incisive. 
Sheds  coat  in  the  spring;  in  marshy  countries  sheds  hoofs 
too.  Hoofs  hard  but  requiring  to  be  shod  with  iron.  Age 
known  by  marks  in  the  mouth." 

"Now,  girl  number  twenty,"  said  Mr.  Gradgrind,  "you 
know  what  a  horse  is." 

The  third  gentleman  now  stepped  forth.  A  mighty 
man  at  cutting  and  drying,  he  was;  a  government  officer; 
always  in  training,  always  with  a  system  to  force  down 
the  general  throat. 

"Very  well,"  said  the  gentleman  briskly.  "That's  a 
horse.  Now,  let  me  ask  you,  girls  and  boys,  Would  you 
paper  a  room  with  representations  of  horses?" 

After  a  pause,  one-half  of  the  children  cried  in  chorus, 
"Yes,  sir!"  upon  which  the  other  half,  seeing  in  the 
gentleman's  face  that  "yes"  was  wrong,  cried  out  in  a 
chorus.  "No,  sir!" — as  the  custom  is  in  these  examina- 
tions. "Of  course  not.  Why  wouldn't  y9u?" 

A  pause.    One  corpulent,  slow  boy,  with  a  wheezy  man- 

•Her  father  rides  In  the  circus. 

[80] 


ner  of  breathing,  ventured  to  answer,  "Because  I  wouldn't 
paper  a  room  at  all,  I'd  paint  it." 

"You  must  paper  it,"  said  the  gentleman,  rather  warmly. 

"Yes,  you  must  paper  it,"  said  Thomas  Gradgrind, 
"whether  you  like  it  or  not.  Don't  tell  us  you  wouldn't 
paper  it.  What  do  you  mean,  boy?" 

"I'll  explain  to  you  then,"  said  the  gentleman,  after  a 
dismal  pause,  "why  you  wouldn't  paper  a  room  with  repre- 
sentations of  horses.  Do  you  ever  see  horses  walking  up 
and  down  the  sides  of  rooms  in  reality, — in  fact?  Do  you?" 

"Yes  sir,"  from  one-half.    "No,  sir,"  from  the  other. 

"Of  course  not,"  said  the  gentleman,  with  an  indignant 
look  at  the  wrong  half.  "Why,  then,  you  are  not  to  see 
anywhere  what  you  don't  see  in  fact;  you  are  not  to  have 
anywhere  what  you  don't  have  in  fact.  What  is  called 
taste  is  only  another  name  for  fact.  This  is  a  new  prin- 
ciple, a  discovery,  a  great  discovery,"  said  the  gentleman. 
"Now  I'll  try  you  again.  Suppose  you  were  going  to  carpet 
a  room,  would  you  use'  a  carpet  having  a  representation  of 
flowers  upon  itf 

There  being  a  general  conviction  by  this  time  that  "No, 
sir"  was  always  the  right  answer  to  this  gentleman,  the 
chorus  of  "no"  was  very  strong.  Only  a  few  feeble  strag- 
glers said  "yes;"  among  them  Sissy  Jupe. 

"Girl  number  twenty,"  said  the  gentleman,  smiling  in 
the  calm  strength  of  knowledge. 

Sissy  blushed,  and  stood  up. 

"So  you  would  carpet  your  room  with  representations 
of  flowers,  would  you?"  said  the  gentleman.  "Why  would 
you?" 

"If  you  please,  sir,  I  am  very  fond  of  flowers,"  returned 
the  girl. 

"And  is  that  why  you  would  put  tables  and  chairs  upon 
them,  and  have  people  walking  over  them  with  "heavy 
boots?" 

"It  wouldn't  hurt  them  sir.  They  wouldn't  crush  and 
wither,  if  you  please,  sir.  They  would  be  pictures  of  what 
was  very  pretty  and  pleasant,  and  I  would  fancy" — 

"Ay,  ay,  ay!  but  you  musn't  fancy,"  cried  the  gentle- 
man, quite  elated  by  coming  so  happily  to  his  point. 
"That's  it!  You  are  never  to  fancy." 

"You  are  not,  Cecilia  Jupe,"  Thomas  Gradgrind  solemn- 
ly repeated,  "to  do  anything  of  that  kind." 

"You  are  to  be  in  all  things  regulated  and  governed," 
said  the  gentleman,  "by  Fact.  You  must  discard  the  word 
'fancy1  altogether.  You  have  nothing  to  do  with  it.  You 
don't  walk  upon  flowers  in  fact:  you  cannot  be  allowed  to 
walk  upon  flowers  in  carpets.  You  never  meet  with 
quadrupeds  going  up  and  down  the  walls;  you  must  not 
have  quadrupeds  represented  upon  walls.  You  must  use," 
said  the  gentleman,  "for  all  these  purposes,  combinations, 
and  modifications  (in  primary  colors)  of  mathematical 

[81] 


figures  which  are  susceptible  of  proof  and  demonstration. 
This  is  the  new  discovery.    This  is  fact.    This  is  taste." 

— Charles  Dickens. 

EXERCISES 

Describe  briefly  but  clearly  exercises  25-27.    Then  lead 
the  class  in  practising  them,  rapidly  and  correctly. 


[82] 


LESSON  XXIV 


1.  Make  yourself  see  vividly  each  of  these  incidents, 
then  mark  in  the  margin  of  each  five  Feet  Attitudes. 

2.  While  one  student  is  giving  an  incident  let  the  rest 

of  the  class  write  a  list  of  the  Feet  Attitudes  ho 
uses;  later  see  if  the  observers  agree  as  to  what  at- 
titudes he  actually  used  while  telling  it.  (Do  not 
discuss  at  this  time  whether  his  attitudes  were 
right  or  wrong.) 

In  a  town  in  the  far  West,  a  crowd  of  cowboys  stood 
around  a  fenced  enclosure,  beside  the  railroad  track.  In 
this  enclosure  was  confined  a  large  bull.  The  cowboys 
were  amusing  themselves  by  annoying  in  many  ways  the 
poor  brute,  who  was  fast  becoming  furious. 

Suddenly,  one  of  their  number,  lightly  vaulting  the 
fence,  landed  squarely  astride  of  the  bull's  neck,  and  grasp- 
ed him  by  the  horns.  The  infuriated  animal  plunged  and 
snorted,  but  his  rider,  with  wonderful  agility,  quickly 
leaped  to  the  ground,  and  before  the  bull  could  turn  and 
gore  him,  sprang  over  the  fence  again  to  be  greeted  by  the 
applause  of  his  comrades. 

Their  attention  was  soon  diverted,  however,  by  the  ar- 
rival of  a  passenger  train  which  was  just  drawing  up  to 
the  station  across  the  street,  and  the  cowboys,  with  shouts 
and  laughter,  ran  across  toward  the  platform. 

Meanwhile,  the  now  maddened  bull  had  succeeded  in 
breaking  through  the  fence,  and  with  tossing  head  and 
lashing  tail  was  trotting  across  the  street,  bellowing  as  he 
went. 

Just  then  a  young  man,  satchel  in  hand,  came  running 
down  the  street  to  catch  the  train,  passing  on  his  way  some 
farmers  who  were  standing  some  distance  from  the  bull. 

They  shouted  to  the  young  matn  as  he  passed,  "Hi, 
there!  Stop!  The  bull!  The  bull!"  but  he  kept  on,  with 
a  wave  of  the  hand,  "All  right!  I'll  look  out  for  him." 

The  next  instant  the  bull  saw  him,  and  with  lowered 
horns,  ran  to  head  him  off.  But  the  young  man  was  a 
fast  runner.  He  passed  just  in  front  of  the  bull's  head, 
which,  the  next  instant,  brought  up  with  a  thud  against 
the  side  of  the  station.  It  was  a  very  close  shave. 

Dazed  by  the  shock,  the  bull  stood  still  for  a  moment, 
then  turned  just  as  two  children,  who  had  arrived  on  the 
train  and  had  passed  through  the  station,  started  to  cross 
the  street.  When  they  turned  the  corner  of  the  building, 

[83] 


they  caught  the  animal's  eye,  and  quick  as  a  flash  he 
charged  them. 

A  cry  of  horror  went  UD  from  the  group  of  farmers,  as 
the  two  little  girls,  now  aware  of  their  danger,  started  to 
run  hand  in  hand. 

A  stalwart  young  farmer  soon  appeared  a  short  distance 
behind  them.  He  took  in  the  situation  at  a  glance.  By 
hard  running,  he  overtook  the  bull  when  but  a  few  feet 
from  the  children,  quickly  grasped  with  both  hands  the 
horn  nearest  him,  set  his  feet  firmly,  and  with  one  quick, 
strong,  downward  and  backward  jerk,  threw  the  animal 
heavily  to  the  ground. 

With  the  help  of  the  other  farmers,  who  by  this  time 
had  reached  the  spot,  the  bull  was  secured  and  led  away 
where  he  could  do  no  more  harm. 

Thus,  in  less  time  than  it  has  taken  to  tell  it  all,  oc- 
curred examples  of  three  distinct  human  qualities,  which 
in  the  minds  of  many  people  are  often  confounded — bra- 
vado, recklessness  and  courage. 

It  was  in  Union  Square,  where  the  jam  was  greatest, 
that  the  three-horse  team  drawing  a  fire-engine  took 
fright  and  ran  away,  straight  into  the  crowd,  dragging  the 
ponderous  vehicle  after  them.  Two  seconds  and  scores 
would  have  been  trampled  helpless  under  their  feet.  Es- 
cape there  was  none.  A  shriek  of  horror  went  up,  that 
was  turned  into  an  exhultant  cheer  as  Policeman  Griffen- 
hagen  threw  himself  in  the  path  Qf  the  horses,  seized  their 
bits,  and  was  dragged  into  the  multitude,  torn,  bleeding, 
and  trampled  by  the  iron-shod  hoofs,  but  still  hanging  to 
them,  barring  the  way  with  his  body  till  help  came. 
Griffenhagen  never  recovered  from  his  supreme  effort.  He 
was  retired  after  years  of  invalidism,  his  nervous  system 
hopelessly  shattered;  but  every  policeman  walked  with  a 
lighter  step  that  night  and  after.  The  dull  routine  of  .his 
life  was  glorified  by  his  comrade's  heroism^ 

BERNARDO    DEL    CARPIO 

1.  The  warrior  bowed  his  crested  head,  and  tamed  his 

heart  of  fire, 
And  sued  the  haughty  king  to  free  his  long-imprisoned 

sire; 
"I  bring  thee  here  my  fortress-keys,  I  bring  my  captive 

train, 
I   pledge   thee   faith,   my   liege,   my   lord! — 0!   break  my 

father's  chain!" 

2.  "Rise,  rise!  even  now  thy  father  comes,  a  ranspmed 

man,  this  day! 
Mount  thy  good  horse;  and  thou  and  I  will  meet  him  on  his 

way." 

Then  lightly  rose  that  loyal  son,  and  bounded  on  his  steed, 

[84] 


And  urged,  as  if  with  lance  in  rest,  the  charger's  foamy 
speed. 

3.  And  lo!  from  far,  as  on  they  pressed,  there  came    a 

glittering  band, 
With  one  that  'midst  them  stately  rode,  as  a  leader  in  the 

land; 

"Now  haste,  Bernardo,  haste!  for  there,  in  very  truth,  is  he, 
The  father  whom  thy  faithful  heart  hath  yearned  so  long 

to  see." 

4.  His  dark  eye  flashed,  his  proud  breast  heaved,  his 
cheek's  hue  came  and  went; 

He  reached  that  gray-haired  chieftain's  side,  and  there,  dis- 
mounting, bent; 

A  lowly  knee  to  earth  he  bent,  his  father's  hand  he  took— 
What  was  there  in  its  touch  that  all  his  fiery  spirit  shook? 

5.  That  hand  was  cold — a  frozen  thing— it  dropped  from 

his  like  lead! 

He  looked  up  to  the  face  above — the  face  was  of  the  dead! 
A  plume  waved  o'er  the  noble  brow/ — the  brow  was  fixed 

and  white; 
He  met,  at  last,  his  father's  eyes — but  in  them  was  no  sight! 

6.  Up  from  the  ground  he  sprang  and  gazed;  but  who 
could  paint  that  gaze? 

They  hushed  their  very  hearts,  that  saw  its  horror    and 

amaze — 
They  might  have  chained  him,  as  before  that  stony  form 

he  stood; 
For  the  power  was  stricken  from  his  arm,  and  from  his 

lip  the  blood. 

7.  "Father!"  at  length  he  murmured  low,  and  wept  like 

childhood  then: 
Talk  not  of  grief  till  thou  hast  seen  the  tears  of  warlike 

men! 
He  thought  on  all  his  glorious  hopes,  and  all  his  young 

renown — 
He  flung  his  falchion  from  his  side,  and  in  the  dust  sat 

down. 

8.  Then    covering    with     his    steel-gloved     hands     his 

darkly  mournful  brow, 
"No  more,  there  is  no  more,"  he  said,  "to  lift  the  sword 

for,  now; 
My  king  is  false — my  hope  betrayed!  My  father — 0!  the 

worth, 
The  glory,  and  the  loveliness,  are  passed  away  from  earth! 

9.  "I  thought  to  stand  where  banners  waved,  my  sire, 
beside  thee,  yet! 

I  would  that  there  our  kindred  blood  on  Spain's  free  soil 
had  met! 

[85] 


Thou  wouldst  have  known  my  spirit,  then — for  thee  my 

fields  were  won; 
And   thou   hast  perished   in  thy   chains,   as  though   thou 

hadst  no  son!" 

10.  Then,    starting    from    the    ground    once    more,    he 
seized  the  monarch's  rein, 

Amid  the  pale  and  wildered  looks  of  all  the  courtier  train; 

And,  with  a  fierce,  o'ermastering  grasp,  the  rearing  war- 
horse  led, 

And  sternly  set  them  face  to  face— the  king  before  the 
dead. 

11.  "Came   I  not  forth;   upon   thy  pledge,   my  father's 
hand  to  kiss? 

— Be  still,  and  gaze  thou  on,  false  king!  and  tell  me  what 

is  this? 
The  voice,  the  glance,  the  heart  I  sought — give  answer, 

where   are   they? 
—If  thou  wouldst  clear  thy  perjured  soul,  send  life  through 

this  cold  clay! 

12.  "Into   these    glassy    eyes    put    light— be    still!    keep 
down  thine  ire! 

Bid  these  white  lips  a  blessing  speak — this  earth  is  not 

my  sire — 
Give  me  back  him  for  whom  I  strove,  for  wrhom  my  blood 

was  shed! 
Thou  canst  not?— and  a  king!)— his  dust  be  mountains  on 

thy  head!" 

13.  He  loosed  the  steed — his  slack  hand  fell — upon  the 
silent  face 

He  cast  one  long,  deep,  troubled  look,  then  turned  from 

that  sad  place; 
His  hope  was  crushed,  his   after  fate  untold   in  martial 

strain — 
His  banner  led  the  spears  no  more,  amid  the  hills  of 

Spain. 

— Mrs.  Hemans. 

During  my  stay  in  Melbourne  the  gold  fever  was  at  its 
height.  There  were  lucky  and  unlucky  miners  in  Aus- 
tralia, as  there  have  been  everywhere  else  in  the  world's 
gold-fields.  Many  found  great  nuggets  that  contained  for- 
tunes.— while  many  more  found  nothing  but  infinite  hard- 
ship and  heartache.  I  remember  one  man  who  could  not 
even  find  work  and  was  starving.  One  day  he  went  to 
the  owners  of  a  mine  or  shaft  that  had  been  worked  out, 
and  asked  permission  to  go  down  to  try  his  luck.  They 
consented.  The  desperate  fellow  took  his  pick  and  de- 
scended to  the  bottom  of  the  shaft.  In  a  few  minutes  he 
had  found  the  biggest  nugget  ever  taken  out  of  the  earth's 

[86] 


treasure-house.  Two  hundred  feet  below  the  surface  of 
the  ground  he  had  driven  his  pick,  by  merest  chance, 
against  a  huge  lump  of  gold. 

He  came  up  out  of  the  shaft,  knowing  that  he  had  found 
a  pretty  big  sum,  but  did  not  realize  how  much  it  was. 
The  nugget  wTas  brought  up  and  weighed.  It  had  exactly 
the  weight  of  a  barrel  of  flour,  one  hundred  and  ninty-six 
pounds.  That  morning  he  had  been  a  beggar,  and  now  he 
was  the  richest  miner  in  the  fields. 

"Is— all— that— mine?"  he  asked,  as  if  the  words  were 
as  heavy  as  the  big  nugget  and  as  valuable.  They  told 
him  it  was. 

"It  doesn't  belong  to  the  government?" 

"No." 

"All  mine,"  he  said  in  a  whisper,  and  dropped  to  the 
floor  dead. 

No  one  knew  him,  not  even  his  -name.  He  was  a  mere 
restless  wanderer  upon  the  face  of  the  earth,  and  had 
broken  his  heart  over  the  biggest  nugget,  the  richest  piece 
of  gold  on  the  globe. — George  Francis  Train. 


[87J 


LESSON  XXV 


Study  this  scene  from  Shakespeare's  Julius  Caesar  in 
which  the  magistrates,  Flavius  and  Marullus,  who  are  en- 
vious of  Caesar,  rebuke  the  crowd  that  has  come  out  to  see 
Caesar's  triumphal  parade. 

Mark  in  the  margin  all  the  Feet  Attitudes  in  this  se- 
lection. You  can  find  here  at  least  one  example  of  each 
kind. 

Flavius.    Hence!  home,  you  idle  creatures,  get  you  home: 
Is  this  a  holiday?  what!  know  you  not, 
Being  mechanical,  you  ought  not  walk 
Upon  a  laboring  day  without  the  sign 
Of  your  profession?  Speak,  what  trade  art  thou? 

First  Commoner.    Why,  sir,  a  carpenter. 

Marullus.    Where  is  thy  leather  apron  and  thy  rule? 
What  dost  thou  with  thy  best  apparel  on? 
You,  sir.  what  trade  are  you?  0 

Sec.  Com.  Truly,  sir,  in  respect  of  a  fine  workman,  I  am 
but,  as  you  would  say,  a  cobbler. 

Mar.  But  what  trade  art  thou?  answer  me  directly. 

Sec.  Com.  A  trade,  sir,  I  hope,  I  may  use  with  a  safe 
conscience: -which  is,  indeed,  sir,  a  mender  of  bad  soles. 

Mar.   What   trade,   thou   knave?   thou  naughty  knave, 
what  trade? 

Sec.  Com.  Nay,  I  beseech  you,  sir,  be  not  out  with  me: 
yet.  if  you  be  out,  sir,  I  can  mend  you. 

Mar.  What  mean'st  thou  by  that?  mend  me,  thou  saucy 
fellow!  20 

Sec.  Com.  Why,  sir,  cobble  you. 

Flav.  Thou  art  a  cobbler,  art  thou? 

Sec.  Com.  Truly,  sir,  all  that  I  live  by  is  with  the  awl:  I 
meddle  with  no  tradesman's  matters,  nor  women's  mat- 
ters, but  with  awl.  I  am,  indeed,  sir.  a  surgeon  to  old 
shoes;  when  they  are  in  erreat  danger,  I  recover  them.  As 
proper  men  as  ever  trod  upon  neat's  leather  have  gone 
upon  my  handiwork. 

Flav.  But  wherefore  art  not  in  thy  shop  today? 
Why  dost  thou  lead  these  men  about  the  streets?  30 

Sec.  Com.  Truly,  sir,  to  wear  out  their  shoes,  to  get  my- 
self into  more  work.  But,  indeed,  sir,  we  make  holiday 
to  see  Caesa-r  and  to  rejoice  in  his  triumph. 

Mar.  Wherefore  rejoice?  What  conquest     brings     he 

home? 

What  tributaries  follow  him  to  Rome 
To  grace  in  captive  bonds  his  chariot-wheels? 

[88] 


You  blocks,  you  stones,  you  worse  than  senseless  things! 

0  you  hard  hearts,  you  cruel  men  of  Rome, 

Knew  you  not  Pompey?  Many  a  time  and  oft 

Have  you  climb'd  up  to  walls  and  battlements,  40 

To  towers  and  windows,  yea,  to  chimney-tops, 

Your  infants  in  your  arms,  and  there  have  sat 

The  live-long  day,  with  patient  expectation, 

To  see  great  Pompey  pass  the  streets  of  Rome: 

And  when  you  saw  his  chariot  but  appear, 

Have  you  not  made  an  universal  shout, 

That  Tiber  trembled  underneath  her  banks, 

To  hear  the  replication  of  your  sounds 

Made  in  her  concave  shores? 

And  do  you  now  put  on  your  best  attire? 

And  da  you  now  cull  out  a  holiday? 

And  do  you  now  strew  flowers  in  his  way 

That  comes  in  triumph  over  Pompey's  blood? 

Be  gone ! 

Run  to  your  houses,  fall  upon  your  knees, 

Pray  to  the  gods  to  intermit  the  plague 

That  needs  must  light  on  this  ingratitude. 

Flav.  Go,  go,  good  countrymen,  and,  for  this  fault, 
Assemble  all  the  poor  men  of  your  sort; 
Draw  them  to  Tiber  banks,  and  weep  your  tears  60 

Into  the  channel,  till  the  lowest  stream 
Do  kiss  the  most  exalted  shores  of  all. 

(Exeunt  all  the  Commoners. 
See,  whe'er  their  basest  metal  be  not  mov'd; 
They  vanish  tongue-tied  in  their  guiltiness. 
Go  you  down  that  way  towards  the  Capitol; 
This  way  will  I:  disrobe  the  images, 
If  you  do  find  them  deck'd  with  ceremony. 

Mar.  May  we  do  so? 
You  know  it  is  the  feast  of  Lupercal. 

Flav.  It  is  no  matter:  let  no  images 
Be  hung  with  Caesar's  trophies.    I'll  about, 
And  drive  away  the  vulgar  from  the  streets: 
So  do  you  too,  where  you  perceive  them  thick. 
These  growing  feathers  pluck'd  from  Caesar's  wing 
Will  make  him  fly  an  ordinary  pitch, 
Who  else  would  spar  above  the  view  of  men 
And  keep  us  all  in  servile  fearfulness. 


mechanical— being  mechanics  or  laborers.  What  were  the  signs  of 
their  profession? 

cobbler— another  play  on  words,  a  cobbler  was  a  rough  workman  at 
any  trade,  a  man  that  makes  a  botch  of  a  job. 

out— a  play  on  words,  out  of  patience  and  out  at  toes. 

neat— cattle. 

to  "go  upon"  a  man's  bond  Is  to  endorse  It,  to  guarantee  that  he  Is 
trustworthy. 

Pompey  had  just  been  conquered. 

[89] 


Tiber— the  river  that  runs  through  Rome, 
whe'er— contraction  for  "whether." 

Ceremony— adorned    with    bunting-,    etc.,    ready    for    the    very    cere, 
monious  parade  that  was  to  occur  next  day. 
vulgar— the  common  people, 
else— otherwise. 

EXERCISES 

Describe  exercises  28-30  clearly, — warn  against  probable 
errors, — and  then  lead  the  class  in  practise. 


[90] 


LESSON  XXVI 


1.  Mark  in  the  margin  the  Feet  Attitudes  in  this  se- 
lection: 

2.  Give  them  with  vigor. 

CHRISTIAN'S  FIGHT  WITH  APOLLYON. 

But  now,  in  this  Valley  of  Humiliation,  poor  Christian 
was  hard  put  to  it;  for  he  had  gone  but  a  little  way  before 
he  espied  a  foul  fiend  coming  over  the  field  to  meet  him; 
his  name  is  Apollyon.  Now  the  monster  was  hideous  to 
behold:  he  was  clothed  with  scales  like  a  fish  (and  they 
are  his  pride) ;  he  had  wings  like  a  dragon,  feet  like  a 
bear,  and  out  of  his  belly  came  fire  and  smoke;  and  his 
mouth  was  as  the  mouth  of  a  lion.  When  he  was  come  up 
to  Christian,  he  beheld  him  with  a  disdainful  countenance, 
and  thus  began  to  question  with  him. 

Apol.  Whence  come  you?  and  whither  are  you  bound? 

Chr.  I  am  come  from  the  City  of  Destruction,  which 
is  the  place  of  all  evil,  and  am  going  to  the  city  of  Zion. 

Apol.  By  this  I  perceive  thou  art  one  of  my  subjects; 
for  all  that  country  is  mine,  and  I  am  prince  and  god  of 
it.  How  is  it  then  that  thou  hast  run  away  from  thy 
king?  Were  it  not  that  I  hope  thou  mayest  do  me  more 
service,  I  would  strike  thee  now  at  one  blow  to  the  ground. 

Chr.  I  was  born  indeed  in  your  dominions,  but  your 
service  was  hard,  and  your  wages  such  as  a  man  could 
not  live  on;  for  the  wages  of  sin  is  death.  Therefore  when 
I  was  come  to  years,  I  did  as  other  considerate  persons  do, 
look  out,  if  perhaps  I  might  mend  myself.  [In  the  dia- 
logue that  ensues,  Apollyon  tries  by  promises  and  threats 
to  reclaim  Christian  to  his  service;  but  Christian  steadily 
maintains  his  allegiance  to  the  Prince  whom  he  now  fol- 
lows.] 

Apol.  Then  Apollyon  broke  out  into  grievous  rage, 
saying,  I  am  an  enemy  to  this  Prince;  I  hate  his  person 
his  laws,  and  people;  I  am  come  out  on  purpose  to  with- 
stand thee. 

Chr.  Apollyon,  beware  what  you  do,  for  I  am  in  the 
King's  highway,  the  way  of  holiness;  therefore  take  heed 
to  yourself. 

Apol.  Then  Apollyon  straddled  quite  over  the  whole 
breadth  of  the  way  and  said,  I  am  void  of  fear  in  this  mat- 
ter. Prepare  thyself  to  die;  for  I  swear  by  my  infernal 
den  that  thou  shalt  go  no  further;  here  will  I  spill  thy 
soul. 

And  with  that  he  threw  a  flaming  dart  at  his  breast; 
[91] 


but  Christian  had  a  shield  in  his  hand,  with  which  he 
caught  it,  and  so  prevented  the  danger  of  that. 

Then  did  Christian  draw,  for  he  saw  'twas  time  to  bestir 
him;  and  Apollyon  as  fast  made  at  him,  throwing  darts  as 
thick  as  hail;  by  the  which  notwithstanding  all  that 
Christian  could  do  to  avoid  it,  Apollyon  wounded  him  in 
his  head,  his  hand,  and  foot.  This  made  Christian  give  a 
little  back;  Apollyon  therefore  followed  his  work  amain,  and 
Christian  again  took  courage,  and  resisted  as  manfully  as  he 
could.  This  sore  combat  lasted  for  above  half  a  day,  even 
till  Christian  was  almost  quite  spent;  for  you  must  know 
that  Christian,  by  reason  of  his  wounds,  must  needs  grow 
weaker  and  weaker. 

Then  Apollyon,  espying  his  opportunity,  began  to 
gather  up  close  to  Christian,  and  wrestling  with  him,  gave 
him  a  dreadful  fall;  and  with  that  Christian's  sword  flew 
out  of  his  hand.  Then  said  Apollyon,  I  am  sure  of  thee 
now;  and  with  that  he  had  almost  pressed  him  to  death, 
so  that  Christian  began  to  despair  of  life.  But  as  God 
would  have  it,  while  Apollyon  was  fetching  of  his  last 
blow,  thereby  to  make  a  full  end  of  this  good  man,  Chris- 
tian nimbly  reached  out  his  hand  for  his  sword,  and 
caught  it.  saying.  Rejoice  not  against  me,  0  mine  enemy! 
when  I  fall  I  shall  arise;  and  with  that  gave  him  a  deadly 
thrust,  which'  made  him  give  back,'.as  one  that  had  received 
his  mortal  wound.  Christian  perceiving  that,  made  at 
him  again  saying,  Nay,  in  all  these  things,  we  are  more 
than  conquerors,  through  him  that  loved  us.  And  with 
that  Apollyon  spread  forth  his  dragon's  wings,  and  soed 
him  away,  that  Christian  for  a  season  saw  him  no  more. 

— John  Bunyan. 

EXERCISES 

Practice  exercises  29-30.  After  getting  the  jaw  relaxed, 
take 

31.  a.  Run  up  the  scale,  saying,  "fo-fa-fa"  on  each  of  the 
eight  degrees. 

b.  Run  down  the  scale  in  the  same  way. 

c.  Run  up  and  down  the  scale  with  one  breath. 


[92] 


SIGNIFICANCE  OF  THE  HAND  IN  SPEAKING 


SIGNIFICANCE  OF  THE  HAND  IN  SPEAKING 


LESSON  XXVII 


Gesture,  we  have  seen,  may  be  conveniently  divided  for 
study  into  three  parts:  Bearing,  Gesticulation,  and  Facial 
expression. 

The  first  of  these,  Bearing,  you  have  been  studying 
under  the  Feet  Attitudes.  It  is  through  Bearing  we  ex- 
press the  general  condition,  the  fundamental  attitude  of  the 
mind.  Gesticulation  (the  second  division),  expresses  the 
particular  thoughts,  feelings,  and  impulses.  These  must 
always  be  in  harmony  with  the  general  attitude.  In  these 
lines  about  the  launching  of  a  ship: 

Then  the  Master, 

With  a  gesture  of  command 

Waved  his  hand. 

And  at  the  word 

Loud  and  sudden  there  was  heard, 
All  around  them  and  below, 
The  sound  of  hammers,  blow  on  blow, 
Knocking  away  the  shores  and  spurs. 

Give  the  first  three  lines  so  as  to  convey  the  idea  with 
the  voice  alone,  that  the  Master  made 

A  quick  gesture. 

A  slow  gesture. 

A  dignified  gesture. 

A  languid  gesture. 

A  waving  of  the  hand  from  the  wrist. 

A  gesture  of  triumph  or  exultation. 

Read  the  last  five  lines  so  as  to  give  the  idea  that  tack 
hammers  were  used.  Now  let  it  be  carpenters'  hammers. 
Now  sledge  hammers  swung  with  both  hands. 

Do  you  notice  that  in  each  case  the  general  bearing,  the 
gesticulation,  and  the  voice,  all  express  the  same  attitude 
of  mind? 

Although  in  this  course  we  cannot  make  a  thorough 
study  of  Gesticulation,  yet  a  glimpse  of  the  subject  is  worth 
while;  and  in  a  few  lessons  you  may  get  a  start  towards  a 
true  idea  of  the  function  of  the  hand  and  arm  in  gesture. 
I  make  no  attempt  here  to  give  any  philosophical  analysis 
of  gesture;  but  will  try  to  describe  the  fundamental  atti- 
tudes and  actions,  and  point  out  their  significance.  For 

[93] 


gesticulations  have  a  definite  meaning,  and  their  meaning 
and  purpose  are  more  important  than  their  gracefulness. 

Indicate.     (2a)     You  may  point  out  a  visible  object  as: 

Do  you  see  yon  star? 
Or  you  may  indicate  a  moving  object. 

He  winds  up  the  ascent  of  the  stairs. 

The  thing  pointed  out  may  be  mental  instead  of  physi- 
cal, some  point  you  wish  your  hearers  to  notice  (2b). 

Ah,  gentlemen  that  was  a  dreadful  mistake. 

Or  the  gesture  may  be  ideal,  indicating  the  nobility  or 
grandeur  of  the  object  named  (2c). 

I  charge  thee,  Cromwell,  fling  away  ambition, 
By  that  sin  foil  the  angels. 

If  your  point  is  the  importance  of  this  advice,  (as  if 
you  said,"  this  one  thing  I  want  you  to  remember  Crom- 
well) there  will  be  mental  pointing  (2b)  on  the  words  "I 
charge  thee."  If  you  point  out  that  "even  holy  angels  find 
this  dangerous,"  it  is  a  gesture  of  the  ideal,  and  the  point- 
ing hand  will  rise  above  the  head.  In  such  case  the  fore 
finger  is  straight  and  the  others  relaxed,  the  palm  is  al- 
ways down. 

Note  1.  When  refering  to  visible  objects,  or  to  objects  im- 
agined as  visible,  the  eye  may  accompany  the  hand:  but 
when  the  reference  is  mental  or  ideal  the  eye  never  looks 
towards  the  hand. 

Note  2.  When  you  refer  to  an  abstract  thing,  some  con- 
ception of  the  mind,  the  hand  generally  moves  somewhere 
between  the  height  of  the  shoulder  and  the  level  of  the 
waist;  gesticulations  that  refer  to  ideal  thoughts,  hopes,  or 
feelings,  are  made  above  the  shoulder;  and  those  referring 
to  contemptible  or  unworthy  things  are  made  below  the 
waist  level.  But  gesticulations  referring  to  physical  ob- 
jects depend,  of  course,  on  the  location  of  the  object. 

Note  3.  In  Presentation  the  gesticulation  will  naturally 
be  open,  revealing,  easy,  unhurried;  since  the  speaker  is 
trying  to  open  and  spread  out  the  matter  before  his  hear- 
ers. In  Discrimination  the  texture  of  the  hand  will  be 
firmer,  a-nd  there  will  be  more  "edge"  to  the  gesticula- 
tion. If  the  movement  of  the  hand  is  not  quicker  than  in 
the  preceding,  at  least  there  will  be  more  ictus,  (a  mus- 
cular tension,  more  or  less  slight,  when  the  gesture  cul- 
minates.) Practically  all  gestures  culminate  in  an  ictus, 
else  they  would  fade  away  in  a  weak,  indefinite  fashion.  The 

[94] 


more  vigorous  the  gesture,  the  more  noticeable  the  ictus. 
In  Emotion  as  the  mind  becomes  more  free  from  restraint, 
the  body,  of  course,  becomes  more  flexible,  and  gesticula- 
tion tends  to  be  larger,  and  in  graceful  curves.  But  when 
the  emotion  passes  into  excitement,  the  movements  are  no 
longer  gentle  and  graceful  curves,  but  angular,  even  jerky 
lines.  Some  speakers  habitually  stretch  their  fingers  apart; 
this  betrays  a  mild  form  of  hysteria,  instead  of  serenity  of 
spirit.  In  Volition  the  movements  are  stronger,  more  di- 
rect, quicker,  and  the  texture  more  tense  and  muscular. 

Reveal,  (la,  Ib)  When  you  indicate,  you  point  out 
something,  when  you  reveal  you  spread  out  something  be- 
fore your  hearers.  You  would  indicate  a  picture  on  the 
wall,  you  would  reveal  a  whole  row  of  pictures  spread 
out  upon  the  wall. 

All  this  valley  was  the  playground  of  my  boyhood. 
Sometimes  both  hands  will  be  used. 

The  circumstances,  now  clearly  in  evidence  spread 
out  the  whole  scene  before  us. 

They  tell  us  we  are  weak,  but  when  shall  be  we 

stronger? 

The  double  reveal  with  this  question  practically  says: 
Here  is  the  whole  situation,  you  can  see  it  plainly,  do  you 
see  any  signs  of  our  growing  stronger? 

Affirm.  When  you  make  a  clear-cut  and  strong  affirma- 
tion of  some  proposition,  the  hand  rises  ([12])  and  sweeps 
down  (12)  on  the  prominent  word  affirmed.  The  stronger 
the  affirmation,  the  higher  the  hand  rises,  and  the  farther 
and  quicker  and  straighter  it  falls. 

Thou  art  the  man. 

If  there  were  as  many  devils  in  Wurms,  as  there  are 
tiles  on  the  roofs,  still  would  I  go. 

A  denial  does  not  prevent  strong  affirming. 
Sir,  \vo  are  not  weak. 

The  battle,  sir  is  not  to  the  strong  alone,  it  is  to  the 

vigilant. 

The  hand  may  give  affirm  on  either  "not"  or  vigilant," 
scarcely  on  both  of  them.  Better  decline  in  first  clause  and 
affirm  on  Last. 

[95] 


Reject.  When  you  resolutely  put  an  object  or  an  idea 
away  from  you,  you  sweep  it  away,  with  the  palm  toward 
the  object.  The  stronger  the  rejection  the  more  vigorous 
the  movement  of  the  hand  and  arm.  When  the  sense  of 
rejection  is  very  strong  both  hands  may  be  used.  ([11]) 
Shows  the  hand  preparing  to  reject.  (11)  Shows  the  com- 
pletion of  the  movement. 

We  have  been  spurned  with  contempt  from  the  foot 
of  the  throne. 

I  will  have  nothing  to  do  with  such  a  plan. 

Decline.  (17)  When  you  put  an  object  or  an  idea  away 
gently  or  carelessly,  the  hand  sweeps  outward,  with  the 
palm  towards  you,  the  hand  less  strongly  muscularized 
than  in  reject. 

I  thank  you,  but  I  will  not  take  your  seat. 

I  do  not  deny  your  good  intention. 

There,  there,  that'll  do,  don't  bother  me  any  more. 

Acquire.  (7)  This  suggests  gathering,  and  is  made  by 
one  hand  or  by  two. 

All  this  is  my  share. 

And  this  wealth,  painfully  gathered  by  twenty  years 
of  sacrifice,  has  been  wantonly  wasted. 

Surrender.  (5)  In  the  idea  of  giving  up,  the  hand  (one 
jr  both)  sweeps  downward,  with  the  palm  outwards  until 
it  falls  empty  in  complete  surrender,  as  in  the  last  clause  of 
the  proceeding  example. 

Take  your  old  doll.    I  wouldn't  have  it  anyhow. 

Ay,  upon  my  knees,  amid  the  dust  and  blood  of  the 
arena,  I  begged  that  poor  boon. 

Here  the  speaker  gives  up  his  pride,  or  self-respect. 

And  now  I  am  come,  with  this  lost  love  of  mine, 
To  lead  but  one  measure,  drink  one  cup  of  wine. 

The  gesticulation  of  surrender  on  "lost  love"  says  that 
he  has  given  her  up. 

Retain.  (4)  With  this  idea,  the  hand  instinctively 
clenches;  the  arm  may  be  in  almost  any  position. 

Millions  for  defense,  but  not  one  cent  for  tribute. 
[96] 


The  guilty  soul  cannot  keep  its  secret.    It  has  become 
his  master. 

With  the  idea  of  this  cruel  master  the  hand  is  clenched 
and  the  arm  raised  above  the  head,  as  if  threatening  to 
grasp  a  thunderbolt  and  hurl  it. 

The  hand  of  Douglas  is  his  own,  (as  in  figure  4,  re- 
taining his  self-respect.) 


[97] 


LESSON  XXVIII 


Inquire.  (16)  When  the  speaker  asks  a  real  question, 
he  instinctively  raises  his  hand  (sometimes  both  hands) 
and  his  eyebrows.  The  ictus  will  be  in  the  fingers,  not  in 
the  palm. 

Listen,  I  implore  you  to  the  voice  of  reason. 
I  ask,  sir,  what  means  this  martial  array. 
Chastisement!   (See  also  Feet  Attitude  4.) 

Assail.  (9)  This  is  a  blow  with  the  fist,  or  a  vigorous 
pushing  out  with  the  open  palm  of  the  hand. 

0  Rome  .  .  .  thou  hast  taught  him  to  drive  the 
sword  through  plaited  mail. 

And  he  shall  pay  thee  back,  until  the  yellow  Tiber 
is  red  as  frothing  wine. 

Uphold.  When  you  are  stating  some  great  truth, 
some  fundamental  and  far  reaching  principle,  or  when  you 
\\ant  to  express  a  sense  of  great  solidity,  the  hand  (usually 
both  hands)  stretches  out  and  with  firm  palm  holds  it  up. 
(See  also  Feet  attitude  3.) 

Three  millions  of  people  armed  in  the  holy  cause  of 
liberty,  .  .  .  are  invincible  by  any  force  which  our 
enemy  can  send  against  us. 

Our  country  will  stand  forever  unbroke'n,  upon  the 
solid  foundation  of  freedom  to  all. 

(Attitude  of  stedfastness.) 

Liberty  and  Union  now  and  forever  one  and  insep- 
arable. 

Caress.  (14)  The  feeling  of  gentleness  expresses  itself 
by  a  stretching  of  the  hand,  especially  the  palm  and  the 
middle  finger.  This  "breathing"  of  the  hand  (palm  down 
always)  is  accompanied  by  a  stroking  motion,  as  when  one 
strokes  a  child's  head  or  a  kitten. 

My  mother  parting  the  hair  from  off  my  forehead, 
kissed  my  throbbing  temples. 

The  beams  of  the  moon  resting  on  the  gray  locks 
of  his  aged  temple. 

[98] 


One  day  after  the  sheep  were  folded,  and  we  were 
all  seated  beneath  the  myrtle  which  shaded  our  cottage. 

Conceal.  (6)  In  this  the  whole  body  is  stealthy,  the 
hand  creeps  in  front  of  the  body,  as  if  to  shield  something 
from  sight. 

Hark!  did  somebody  rustle  those  leaves? 

The  assassin  enters  through  the  window  ....  with 
noiseless  foot  he  paces  the  lonely  hall,  half  lighted  by 
the  moon. 

Detect.  (8)  Physically  one  feels  the  quality  of  paper  or 
cloth  by  rubbing  it  between  the  thumb  and  the  tips  of  the 
first  and  second  fingers. 

There  seems  to  be  some  sand  or  grit  in  this  sugar. 

In  mental  detecting  the  thumb  is  held  in  a  similar 
position  but  without  rubbing  and  without  drawing  the 
eyes  toward  the  hand. 

It  sounds  plausible,  gentlemen,  but  if  you  examine 
the  statement  more  carefully,  you  will  see  that  he  has 
overlooked  one  important  fact. 

Define.  (15)  Mental  indicating  is  the  pointing  out  of 
some  fact  that  might  be  overlooked.  Detecting  is  picking 
out  and  separating  some  fact  that  is  involved  or  entangled 
with  other  ideas.  Defining  is  cutting  off  something  at  its 
limits.  It  may  be  physical  but  is  more  often  mental.  The 
edge  of  the  hand  cuts,  as  it  were,  between  this  and  that. 

Man  marks  the  earth  with  ruin;  his  control  stops 
with  the  shore. 

Let  us  be  sacrificers,  but  not  butchers,  Caius. 

The  secret  which  the  murderer  possesses,  soon  comes 
to  possess  him. 

Mould.  (13)  When  you  think  of  shaping  something  like 
dough  or  clay;  or  of  strongly  influencing  some  person  and 
moulding  him  to  your  own  will,  the  hand  moves  with  a 
slight  but  subtle  shaping  movement,  which  has  a  tinge 
of  stealthiness. 

He  moves  the  lock  by  soft  and  continued  pressure. 

Leave  him  to  me,  I'll  manage  him. 
[99] 


Accept.  The  hand  signifies  the  mind's  attitude  of  ac- 
ceptance by  extending  itself  towards  the  giver,  palm  up. 

(3a). 

Please  lend  me  your  knife. 

Ye  call  me  chief — (the  gesture  says  I  accept  that 
place) .  If  there  be  three  in  all  your  number  that  dare 
face  me  on  the  bloody  safads,  let  them  come  on. 

Eager  entreaty  or  prayer  stretches  both  hands  out  ready 
to  accept  the  expected  gift.  (3b). 

My  gracious  lord,  you  will  not  kill  my  boy. 

Protect.  (10)  This  conception  is  expressed  by  the  up- 
raised arm  and  outstretched  hand,  palm  down.  The  po- 
liceman at  the  dangerous  street  crossing  uses  this  gesticu- 
lation to  protect  the  people  from  being  trampled  by  the 
horses.  The  minister  uses  it  (sometimes  both  hands)  to 
protect  his  people  from  evil  by  his  blessing. 

He  raises  the  aged  arm  .  .  .  and  replaces  it  again 
over  the  wounds  of  the  poniard  [his  hope  is  to  "protect" 
the  gash  from  observation.] 

Antony.  Be  patient  till  the  last.  [The  protection  is 
against  interruption.] 

Woodman  spare  that  tree. 

Under  its  benign  influences,  these  great  interests 
immediately  awoke,  as  from  the  dead. 

Mark  twenty  gesticulations  in  Webster's  speech,  page 
70. 

Mark  eight  gesticulations  in  his  paragraph  on  page  76. 

Most  of  the  selections  in  this  book  furnish  good  ex- 
amples for  gesticulation,  and  several  lessons  can  profitably 
be  spent  on  this  work. 

You  will  frequently  notice  gesticulations  that  do  not 
seem  to  be  included  in  this  list.  After  you  have  mastered 
these,  however,  you  will  probably  be  able  to  recognize  any 
strange  gesticulation  as  a  combination  of  some  of  these. 
For  instance  a  speaker  may  give  affirm  (the  down  coming 
hand)  combined  with  indicate  (the  pointing  finger)  be- 
cause he  wishes  to  call  your  attention  to  some  particular 
aspect  while  he  affirms.  Or  he  may  combine  affirm  with 

[100] 


the  closed  fist  of  assail  as  if -he  wovild:har/mie?'R'iiit^you. 
Not  a  very  courteous  gesture  you  see,  though  much  used 
by  lawyer  politicians,  who  have  acquired  it  from  abusing 
juries.  It  is  sometimes  interesting,  when  you  must  listen 
to  a  dull  speech  to  note  the  speaker's  most  frequent  ges- 
tures and  to  gather  therefrom  his  character,  disposition, 
and  habits  of  thinking. 


[101] 


LESSON  XXIX 


We  have  seen  that  thought  or  speech  is  naturally  divid- 
ed into  four  classes,  according  to  the  speaker's  mood  when 
it  was  uttered, — Presentation,  Discrimination,  Emotion,  and 
Volition.  We  have  learned  to  analyze  a  passage  and  identi- 
fy the  parts  of  it  belonging  to  each  of  these  moods.  The 
next  problem  is  how  to  express  in  speech  these  different 
moods  so  that  our  hearers  also  can  identify  and  under- 
stand them. 

The  main  thing  in  Presentation  is  Time.  In  the  pre- 
sentation of  facts  to  the  hearer  you  should  speak  no  faster 
than  he  can  take  them  in,  or  the  result  will  be  a  blur.  So 
in  presenting  thoughts  that  are  new  to  the  hearer  you 
naturally  speak  rather  slowly. 

A  certain  man  had  two  sons;  and  the  younger  of 
them  said  to  his  father,  Father,  give  me  the  portion  of 
substance  that  falleth  to  me.  And  he  divided  unto  them 
his  living. 

John  Maynard  was  well  known  in  the  lake  district 
as  a  God-fearing,  honest,  and  intelligent  pilot.  He  was 
pilot  on  a  steamboat  from  Detroit  to  Buffalo. 

When  facts  and  ideas  are  very  important,  even  if  they 
are  not  new  to  the  hearer,  you  speak  slowly  in  order  to 
give  your  hearer  a  chance  to  take  in  fully  all  their  sig- 
nificance. 

I  profess,  sir,  in  my  career  hitherto,  to  have  kept  steadily 
in  view,  the  prosperity  and  honor  of  the  whole  country, 
and  the  preservation  of  our  federal  Union.  It  is  to  that 
Union  we  owe  our  safety  at  home,  and  our  consideration 
and  dignity  abroad.  It  is  to  that  Union  that  we  are  chiefly 
indebted  for  whatever  makes  us  most  proud  of  our  country. 
That  Union  we  reached,  only  by  the  discipline  of  our  vir- 
tues, in  the  severe  school  of  adversity.  It  had  its  origin, 
in  the  necessities  of  disordered  finance,  prostrate  commerce, 
and  ruined  credit.  Under  its  benign  influences,  these 
great  interests  immediately  awoke,  as  from  the  dead,  and 
sprang  forth  with  newness  of  life.  Every  year  of  its  dur- 
ation has  teemed  with  fresh  proofs  of  its  utility,  and  its 
blessings;  and  although  our  territory  has  stretched  out 
wider  and  wider,  and  our  population  spread  farther  and 
farther,  they  have  not  outrun  its  protection,  or  its  benefits. 

[102] 


It  has  been  to  us  all  a  copious  fountain  of  national,  social, 
and  personal  happiness. — Webster. ,. 

We  live  in  deeds,  not  years;  in  thoughts,  not  breaths; 
In  feelings,  not  in  figures  on  a  dial. 

We   should  count  time  by   heart-throbs.     He  most  lives 
Who  thinks  most,  feels  the  noblest,  acts  the  best. 

—Bailey's  Festus. 

Deep  thoughts,  or  thoughts  difficult  to  follow,  must  be 
uttered  slowly  for  the  same  reason. 

Perfect  taste  is  the  faculty  of  receiving  the  greatest 
possible  pleasure  from  those  material  sources  which  are 
attractive  to  our  moral  nature  in  its  purity  and  perfec- 
tion. He  who  receives  little  pleasure  from  these 
sources,  wants  taste;  he  who  receives  pleasure  from  any 
other  sources,  has  false  or  bad  taste.  — Ruskin. 

Sad  thoughts  are  uttered  slowly  because  sorrow  takes 
away  one's  vivacity. 

Break,  break,  break, 

On  thy  cold  gray  stones,  0  Sea! 
And  I  would  that  my  tongue  could  utter 
The  thoughts  that  arise  in  me. 

Gentle  and  tender  thoughts  are  spoken  slowly  because 
we  linger  upon  what  we  love.  Brutus  says  to  his  little 
page 

If  I  do  live,  I  will  be  good  to  thee. 

On  the  other  hand,  since  the  mind  can  comprehend 
what  is  familiar  more  easily,  and  therefore  more  quickly, 
than  it  can  take  in  something  entirely  new,  thoughts  al- 
ready in  mind,  even  although  important  in  themselves,  are 
spoken  rather  rapidly,  simply  because  they  are  so  familiar 
that  the  mind  readily  grasps  them.  These  same  thoughts 
when  first  presented  to  the  hearer  were  doubtless  spoken 
slowly  because  then  they  were  new  and  unfamiliar.  Take, 
for  example  a  sentence  from  Wendell  Phillips'  oration  on 
O'Gonnell: 

And  then,  besides  his  unimpeachable  character,  he 
had  what  is  half  the  power  of  a  popular  orator,  a 
majestic  presence. 

Now,  an  unimpeachable  character  is  a  very  important 
thing,  more  important  than  a  majestic  presence,  but 
Wendell  Phillips  has  already  discussed  that  subject  and  is 

[103] 


turning  away  from  it  to  the  other  topic.  The  first  part  of 
the  sentence,  therefore,  he  will  speak  faster  (even  though 
in  itself  it  is  more  important  than  the  rest)  and  as  he  ap- 
proaches the  new  topic  the  rate  becomes  slower. 

Things  that  have  not  been  mentioned  before  may  be  so 
obvious  and  easy  to  grasp  that  they  can  be  spoken  rapidly; 
as  the  showman's  second  sentence  below: 

"Gentlemen  and  ladies,1'  said  the  showman,  "here 
you  have  a  magnificent  painting  of  Daniel  in  the  Lion's 
Den.  Daniel  can  easily  be  distinguished  from  the  lions 
by  the  green  cotton  umbrella  under  his  arm.1' 

For  the  same  reason  trivial  or  unimportant  matters  are 
spoken  more  rapidly. 

In  excitement  the  rate  is  faster,  and  also  in  merriment 

or  gladness. 

Nonsense:  you  don't  impose  upon  me;  you  can't  be 
asleep  with  such  a  shower  as  that!  Do  you  hear  it,  I 
say?  Oh,  you  do  hear  it! — Well,  that's  a  pretty  flood, 
I  think,  to  last  for  six  weeks,  and  no  stirring  all  the 
time  out  of  the  house.  Pooh!  don't  think  me  a  fool,  Mr. 
Caudle;  don't  insult  me!  he  return  the  umbrella!  Any- 
body would  think  you  were  born  yesterday.  As  if  any- 
body ever  did  return  an  umbrella! 

Old  Fezzwig  laid  down  his  pen,  and  looked  up  at  the 
clock,  which  pointed  to  the  hour  of  seven.  He  rubbed 
his  hands;  adjusted  his  capacious  waistcoat;  laughed 
all  over  himself,  from  his  shoes  to  his  organ  of  benevo- 
lence; and  called  out  in  a  comfortable,  oily,  rich,  fat, 
jovial  voice:  "Yo  ho,  there  Ebenezer!  Dick!  Yo  ho,  my 
boys!  No  more  work  tonight.  Christmas  eve,  Dick. 
Christmas  Ebenezer! 


REVIEW  QUESTIONS 

1.  If  you  write  out  the  separate  things  you  wish  to 
present  to  your  hearers  in  the  first  example,  it  will 
perhaps  be  something  like  this: 

A  man  had  two  sons. 
One  of  them  made  a  request. 
He  was  the  younger  of  the  two. 
His  request  was  about  property. 
He  asked  for  his  share  of  it. 
The  father  gave  it  to  him. 

[104] 


2.  Write  out  the  new  things  you  wish  to  present  in  the 

second  example. 

3.  What  are  the  important  things  in  the  fourth? 

4.  Write  an  expansive  paraphrase  of  the  fifth  example 

so  as  to  remove  the  difficulties. 

5.  Paraphrase  the  sixth  example  so  as  to  show  fully  the 

author's  thoughts  and  feelings.  Where  was  he? 
Why  was  he  there? 

6.  Write  out  the  thoughts  that  were  probably  in  the 

mind  of  Brutus  when  he  spoke  these  words  to  his 
boy. 

7.  Now  read  aloud  the  examples  given  in  this  lesson, 

giving  time  enough  to  bring  out  clearly  any  thought 
that  is  new,  or  important,  or  exact  and  diffcult,  or 
sad,  or  tender;  but  do  not  drag  nor  drawl. 

EXERCISES 

When  you  strike  a  slender  rod  upon  a  solid  surface  it 
rebounds  and  makes  two  or  three  light  taps.  In  a  similar 
way  accent  the  first  syllable,  and  let  the  other  syllables 
follow  as  a  sort  of  rebound. 

Practice  exercises  29-31,  then  follow  with 
32.  a.  Run  up  the     scale     saying  "fo-fa-fa-fa"  on  each 
degree. 

b.  Run  down  the  scale  in  the  same  way. 

c.  Run  up  and  down  the  scale  in  one  breath. 


[105J 


LESSON  XXX 


a.  Mark  in  the  margin  whether  the  passage  is  Fast, 

Medium,  or  Slow. 

b.  Tell,  in  writing,  why  each  is  as  you  mark  it. 

c.  Are   all   parts   of   each   selection   equally   fast   or 

equally  slow? 

d.  Read  them  aloud. 

1.  We  hold  these  truths  to  be  self-evident,  that  all  men 
are  created  equal;  that  they  are  endowed  by  their  Creator 
with  certain  unalienable  rights;  that  among  these  are  life, 
liberty,  and  the  pursuit  of  happiness.    That,  to  secure  these 
rights,  governments   are   instituted   among  men,  deriving 
their  just  powers  from  the  consent  of  the  governed;  that 
whenever  any  form  of  government  becomes  destructive  of 
these  ends,  it  is  the  right  of  the  people  to  alter  or  to  abolish 
it,  and  to  institute  a  new  government,  laying  its  foundation 
on  such  principles,  and  organizing  its  powers  in  such  form, 
as  to  them  shall  seem  most  likely  to  effect  their  safety  and 
happiness.  —The  Declaration  of  Independence. 

2.  Now  as  they  went  on  their  way,  he  entered  into  a 
certain  village  and   a   certain  woman  named  Martha  re- 
ceived him  into  her  house.  And  she  had  a  sister  called  Mary, 
who  also  sat  at  the  Lord's  feet,  and  heard  his  word.    But 
Martha  was  distracted  about  much  serving;  and  she  came 
up  to  him  and  said,  Lord,  dost  thou  not  care  that  my  sister 
did  loavo  mo  to  serve  alone?  bid  her  therefore,  that  she  bolp 
me.     But  the  Lord  answered  and  said  unto  her,  Martha, 
Martha,  thon  art  anxious  and  troubled  about  many  things.— 
Luke  10:38-41. 

3.  The  curfew  tolls  the  knell  of  parting  day; 
The  lowing  herd  winds  slowly  o'er  the  lea; 
The  plowman  homeward  plods  his  weary  way, 
And  leaves  the  world  to  darkness  and  to  mo. 

4.  An  old  clock  that  had  stood  for  fifty  years  in  a  farm- 
er's kitchen  without  giving  its  owner  any  cause  of  com- 
plaint, early  one  summer's  morning  before  the  family  was 
stirring,  suddenly  stopped. 

5.  Roll  on,  thou  deep  and  dark  blue  Ocean— roll! 
Ten  thousand  fleets  sweep  over  thee  in  vain; 
Man  marks  the  earth  writh  ruin — his  control 
Stops  with  the  shore; — upon  the  watery  plain 
The  wrecks  are  all  thy  deed,  nor  doth  remain 

[106] 


A  shadow  of  man's  ravage,  save  his  own, 
When  for  a  moment,  like  a  drop  of  rain, 
He  sinks  into  thy  depths  with  bubbling  groan, 
Without  a  grave,  unknell'd,  uncoffin'd,  and  unknown. 

— Byron. 

6.  Against  the  prisoner  at  the  bar,  as  an  individual,  I 
cannot  have  the  slightest  prejudice.    I  would  not  do  him 
the  smallest  injury  or  injustice.    But  I  do  not  affect  to  be 
indifferent  to  the  discovery,  and  punishment,  of  this  deep 
guilt. 

7.  Oh,   to   be   in   England 

Now  that  April's  there, 
And  whoever  wakes  in  England 
Sees,  some  morning  unaware, 

Th.-it  the  lowest  boughs  and  the  brush-wood  sheaf 
Round  the  elm-tree  bole  are  in  tiny  leaf, 
While  the  chaffinch  sings  on  the  orchard  bough 
In  England   now.  — Browning. 

8.  Gently,  silently,  the  love  of  a  great  nation  bore  the 
pale  sufferer  to  the  longed-for  healing  of  the  sea,  to  live 
or  to  die,  as  God  should  will,  within  sight  of  its  heaving 
billows,  within  sound  of  its  manifold  voices.     With  wan, 
fevered  face  tenderly  lifted  to  the  cooling  breeze  he  looked 
out  wistfully  upon  the  ocean's  changing  wonders;  on  its 
fair  sails,  whitening  in  the  morning  light;  on  its  restless 
waves,   rolling1  shoreward  to  break   and  die  beneath  the 
noonday  sun;  on  the  red  clouds  of  eyenine-  arching  low  to 
the   horizon;   on  the  serene   and   shining  pathway  of  the 
stars.     Let  us  think  that  his  dying  eyes  read   a  mystic 
meaning  which  only  the  rapt  and  parting  soul  may  know. 
Lot  us  believe  that  in  the  silence  of  the  receding  world  ho 
heard  the  great  waves  breaking  on  a  further  shore,  and  felt 
already  upon  his  wasted  brow  the  breath  of  the  eternal 
morning.  —From  Elaine's  Eulogy  on  Garfield. 


EXERCISES 

Practice  exercises  14,  17,  29,  30,  31,  32. 
33.  a.  Run  up  the  scale  saying  or  singing  on  each  degree 
the  syllables:     pro-ta-ta-ta-ta-ta-ta-ta-ta 

b.  Run  down  the  scale  in  a  similar  way. 

c.  Run  up  and  down  the  scale  in  one  breath. 

Note.  The  main  accent  is  on  the  first  syllable,  but  slighter 
accents  will  fall  on  the  fourth  and  seventh  syllables.  This 
exercise  not  only  shows  whether  the  jaw  is  flexible,  but 
also  demands  flexible  action  of  the  lips  and  tongue. 

[107] 


LESSON  XXXI 


1.  Mark  the  different  moods  of  utterance  in  the  margin. 

(P.  D.  E.  V.) 

2.  Mark  whether  the  rate  is  fast,  medium  or  slow. 

3.  Tell  the  story  fully  in  your  own  words. 

4.  Read  it  aloud  making  us  see  it  vividly. 

John  Maynard  was  well  known  in  the  lake  district  as  a 
God-fearing,  honest,  and  intelligent  pilot.  He  was  pilot  on  a 
steamship  from  Detroit  to  Buffalo.  One  summer  afternoon 
— at  that  time  those  steamers  seldom  carried  boats — smoke 
was  seen  ascending  from  below,  and  the  captain  called 
out: 

"Simpson,  go  below,  and  see  what  the  matter  is  down 
there." 

Simpson  came  up  with  his  face  pale  as  ashes,  and  said, 
"Captain,  the  ship  is  on  fire." 

Then  "Fire!  fire!  fire!"  on  shipboard. 

All  hands  were  called  up.  Buckets  of  water  were  dashed 
on  the  fire,  but  in  vain.  There  were  large  quantities  of 
rosin  and  tar  on  board,  and  it  was  found  useless  to  at- 
tempt to  save  the  ship.  The  passengers  rushed  to  the  pilot 
and  inquired: 

"How  far  are  we  from  Buffalo?" 

"Seven  miles." 

"How  long  before  we  can  reach  there?" 

"Three-quarters  of  an  hour  at  our  present  rate  of 
steam." 

"Is  there  any  danger?" 

"Danger,  here!  See  the  smoke  bursting  out!  Go  for- 
ward, if  you  would  save  your  lives." 

Passengers    and    crew — men,   women    and    children   - 
crowded   the   forward   part   of  the   ship.     John  Maynard 
stood  at  the  helm.    The  flames  burst  forth  in  a  sheet  of 
fire;  clouds  of  smoke  arose.   The  captain  cried  out  through 
his   trumpet, — • 

"John  Maynard!" 

"Ay,  ay,  sir!" 

"Are  you  at  the  helm?" 

"Ay,  ay,  sir!" 

"How  does  she  head?" 

"South-east  by  east,  sir." 

"Head  her  south-east  and  run  her  on  shore,"  said  the 
captain. 

Nearer,  nearer,  yet  nearer,  she  approached  the  shore. 
Again  the  captain  cried  out,— 

"John  Maynard!" 

[108] 


The  response  came  feebly  this  time,  "Ay,  ay,  sir!" 

"Can  you  hold  on  five  minutes  longer,  John?"  he  said. 

"By  God's  help,  I  will." 

The  old  man's  hair  was  scorched  from  the  scalp,  one 
hand  disabled,  his  knee  upon  the  stanchion,  and  his  teeth 
set,  with  his  other  hand  upon  the  wheel,  he  stood  firm  as 
a  rock.  He  beached  the  ship;  every  man,  woman,  and  child 
was  saved  as  John  Maynard  dropped,  and  his  spirit  took 
its  flight  to  its  God.  —John  B.  Gough. 

EXERCISES 

Practice  exercises  17,  30,  32,  33. 

34.  With  a  similar  flexibility  of  jaw,  accenting  the  main 
syllables  and  letting  the  others  rebound  lightly, 
practice  rapidly  but  distinctly  sentences,  such  as: 

Here's  a  flat-iron  worth  its  weight  in  gold;  here's  a  fry- 
ing-pan artificially  flavored  with  essence  of  beefsteaks  to 
that  degree  that  you've  only  got  for  the  rest  of  your  lives 
to  fry  bread  and  dripping  in  it,  and  there  you  are  replete 
with  animal  food. 


[109] 


LESSON  XXXII 


Since  the  aim  in  speaking  Presentative,  or  prepositional, 
thought  is  to  set  it  before  the  hearer  clearly  and  distinctly, 
so  that  he  may  get  it  into  his  mind  in  an  orderly  fashion,  it 
is  necessary  (1)  to  give  time  enough  for  him  to  grasp  the 
thoughts,  and  (2)  to  show  him  the  relative  importance  ol 
the  various  parts  by  your  faster  or  slower  rate  of  speak- 
ing tho.se  parts.  This  involves  a  third  necessity,  namely, 
presenting  the  thoughts  to  him  in  proper  groups.  The  mind 
can  take  in  only  a  certain  amount  at  one  glance.  The 
matter  presented  to  it  must,  therefore,  be  broken  up  into 
small  enough  groups.  A  line  printed  thus  would  need  to 
be  slowly  spelled  out  and  re-grouped  before  the  eye  could 
get  the  meaning: 

Andthestatelyshipsgoontothehavenunderthehill. 

The  Betters  must  be  grouped  into  separate  words,  with 
spaces  between,  and  the  words  gathered  by  punctuation 
into  larger  groups.  Just  as  the  eye  must  have  the  printed 
words  separated  into  groups,  so  the  ear  also  needs  to 
have  the  spoken  words  presented  to  the  mind  in  groups, 
measurably  distinct  from  each  other,  and  separated  by 
pauses  of  shorter  or  longer  duration. 

But  pay  no  attention  to  pausing,  any  more  than  you  pay 
attention  to  the  spaces  between  words  on  the  printed  page. 
Attention  should  be  focused  upon  the  groups  and  not  up- 
on the  empty  pauses  that  separate  the  groups.  If  the 
student,  in  speaking,  groups  the  words  according  to  the 
thought  and  feeling,  the  pauses  will  largely  take  care 
of  themselves. 

The  mind  can  grasp  a  large  body  of  thought  after  it 
has  it  fully  in  possession,  but  it  cannot  take  in  very  much 
at  a  time.  The  sentence  gives  the  unit  of  grammatical 
structure,  but  the  group  gives  the  unit  of  attention.  The 
group  will  be  small  if  the  thought  is  new  or  difficult,  and 
larger  if  it  is  easy,  familiar,  or  unimportant.  At  first  it 
will  be  easier  for  the  student  to  group  into  larger  groups, 
like  paragraphs;  later  he  can  analyze  it  more  closely,  into 
small  groups. 

[110] 


Mark  the  paragraphs  or  separate  topic-groups  in  the 
following: 

Now  when  Jesus  was  born  in  Bethlehem  of  Judea  in 
the  days  of  Herod  the  king,  behold,  wise  men  from  the 
east  came  to  Jerusalem,  saying,  Where  is  he  that  is  born 
King  of  the  Jews?  for  we  saw  his  star  in  the  east,  and 
are  come  to  worship  him.  And  when  Herod  the  king 
heard  it,  he  was  troubled,  and  all  Jerusalem  with  him. 
And  gathering  together  all  the  chief  priests  and  scribes 
of  the  people,  he  inquired  of  them  where  the  Christ 
should  be  born.  And  they  said  unto  him,  In  Bethlehem  of 
Judea:  for  thus  it  is  written  through  the  prophet.  And 
thou  Bethlehem,  land  of  Judah,  art  in  no  wise  least  among 
the  princes  of  Judah:  for  out  of  thee  shall  come  forth  a 
governor,  Who  shall  be  shepherd  of  my  people  Israel.  Then 
Herod  privily  called  the  wise  men,  and  learned  from  them 
exactly  what  time  the  star  appeared.  And  he  sent  them 
to  Bethelhem,  and  said,  Go  and  search  out  exactly  con- 
cerning the  young  child;  and  when  ye  have  found  him, 
bring  me  word,  that  I  also  may  come  and  worship  him. 
And  they,  haying  heard  the  king,  went  their  way;  and  lo, 
the  star,  which  they  saw  in  the  east,  went  before  them, 
till  it  came  and  stood  over  where  the  young  child  was. 
And  when  they  saw  the  star  they  rejoiced  with  exceed- 
ing great  joy.  And  they  came  into  the  house  and  saw  the 
young  child  with  Mary  his  mother;  and  they  fell  down 
and  worshipped  him;  and  opening  their  treasures  they 
offered  unto  him  gifts,  gold  and  frankincense  and  myrrh. 
And  being  warned  of  God  in  a  dream  that  they  should  not 
return  to  Herod,  they  departed  into  their  own  country 
another  way.  Now  when  they  were  departed,  behold,  an 
angel  of  the  Lord  appeareth  to  Joseph  in  a  dream,  saying, 
Arise  and  take  the  young  child  and  his  mother,  and  flee 
into  Egypt,  and  be  thou  there  until  I  tell  thee:  for  Herod 
will  seek  the  young  child  to  destroy  him.  And  he  arose 
and  took  the  young  child  and  his  mother  by  night,  and 
departed  into  Egypt;  and  was  there  until  the  death  of 
Herod.— Matthew  2:1-15. 

Group  the  following  into  sentences. 

And  he  spake  also  this  parable  unto  certain  'who  trusted 
in  themselves  that  they  were  righteous  and  set  all  others 
at  naught  two  men  went  up  into  the  temple  to  pray  the 
one  a  Pharisee  and  the  other  a  publican  the  Pharisee 
stood  arid  prayed  thus  with  himself  God  I  thank  thee  that 
I  am  not  as  the  rest  of  men  extortioners  unjust  adulterers 
or  even  as  this  publican  I  fast  twice  in  the  vyeek  I  give 
tithes  of  all  that  I  get  but  the  publican  standing  afar  oflf 
would  not  lift  up  so  much  as  his  eyes  unto  heaven  but 
smote  his  breast  saying  God  be  thou  merciful  to  me  a 
sinner  I  say  unto  you  this  man  went  down  to  his  house 

[111] 


justified  rather  than  the  other  for  every  one  that  exalt- 
eth  himself  shall  be  humbled  but  he  that  humbleth  him- 
self shall  be  exalted.— Luke  18:9-14. 

In  the  following  sentences  set  off  the  groups  by  one, 
two,  or  three  bars,  thus 

Johnson  ||  the  brother-in-law  of  Adams  |  the  taitor  || 
came  ||  as  soon  as  he  heard  |  the  terrible  news. 

David  HI  so  great  |  was  his  interest  to  the  case  |||  re- 
turned |  to  the  city  ||  on  the  first  train  ||  that  left||  after  he 
had  finished  |  his  necessary  business. 

I  find  that  the  great  thing  in  this  world  is  not  so  much 
where  we  stand,  as  in  what  direction  we  are  moving;  to 
reach  the  port  of  heaven,  we  must  sail,  sometimes  with 
the  wind  and  sometimes  against  it, — but  we  must  sail, 
and  not  drift,  nor  lie  at  anchor. 

There  is  a  perennial  nobleness,  and  even  sacredness  in 
work.  Were  he  never  so  benighted,  forgetful  of  his  high 
calling,  there  is  always  hope  in  a  man  that  actually  and 
earnestly  works.  In  idleness  alone  there  is  perpetual 
despair. 

The  older  I  grow — and  I  how  stand  upon  the  brink  of 
eternity — the  more  comes  back  to  me  the  sentence  in  the 
catechism  which  I  learned  when  a  child,  and  the  fuller 
and  deeper  becomes  its  meaning:  "What  is  the  chief  end 
of  man?  To  glorify  God,  and  to  enjoy  him  forever." 

Have  a  purpose  in  life,  if  it  is  only  to  kill  and  divide 
and  sell  oxen  well,  but  have  a  purpose;  and  having  it, 
throw  such  strength  of  mind  and  muscle  Into  your  work 
as  God  has  given  you. 

EXERCISES 

In  many  cases  the  tongue  seems  to  fill  the  mouth. 
It  is  thus  very  much  in  the  way.  The  speaker  needs  to 
keep  the  tongue  down  and  the  soft  palate  raised,  that  he 
may  have  as  much  room  as  possible  for  the  forming  of 
sounds. 
35.  a.  Depress  the  tongue,  making  it  hollow  like  a  spoon, 

lift  uvula  and  soft  palate,-  and  yawn, 
b.  With  the  mouth  in  this  condition  sing  "ah"  up 
the  scale. 


[112] 


LESSON  XXXIII 


1.  Study  the  selection  from  Blame's  speech  on  Garfleld, 

page   107  until  you   can  see   in  your  imagination 
everything  he  suggests. 

2.  Separate  it  into  groups  as  in  last  lesson. 

3.  Read  it  aloud  smoothly,  without  dropping    the  voice 

at  the  end  of  the  groups  as  if  the  thought  were  com- 
plete. 

EXERCISES 

Distinctness  in  speaking  is  very  important,  but  articu- 
lation should  also  be  easy. 

Labored  and  noticeable  ar-tic-u-la-tion  is  an  ugly  man- 
nerism. 

Practice  exercises  30  and  33,  then 

36.  a.  Say  these  syllables  distinctly,  without  puffing  out 
breath :  pa-ba-ma-fa-ta-la-ra-sa. 

b.  Say  these  distinctly  but  rapidly,  on  each  degree 

of  the  scale.    The  main  accent  is  on  the  first 
syllable,  a  slighter  accent  on  the  fifth. 

c.  Run  up  and  down  the  scale  in  one  breath. 


[113] 


LESSON  XXXIV 


None  of  the  following  selections  are  pure  types  of  Pre- 
sentation, some  of  them  seem  to  have  no  passage  that  is 
really  Presentation.  Yet  Presentation  is  as  it  were  the 
basement  of  all  the  other  Moods,  and  there  is  a  ground- 
work of  grouping  underlying  the  moods  of  Discrimina- 
tion, Emotion,  and  Volition. 

Mark  the  grouping  in  each  of  these  selections,  and  by 
explanatory  paraphrases  convince  the  class  that  your 
grouping  is  reasonable. 

UI  will  not  believe  anything  but  what  I  understandl" 
said  a  self-confident  young  man  in  a  hotel  one  day. 

"Nor  will  I,"  said  another. 

"Neither  will  I,"  chimed  in  a  third. 

"Gentlemen,"  said  one  who  sat  close  by,  "do  I  under- 
stand you  correctly  that  you  will  not  believe  anything 
you  don't  understand?" 

"I  will  not,"  said  one,  and  so  said  each  one  of  the  trio. 

"Well,"  said  the  stranger,  "in  my  ride  this  morning  I 
saw  some  geese  in  a  field  eating  grass;  do  you  believe 
that?" 

"Certainly,"  said  the  three  unbelievers. 

"T  also  saw  the  pigs  eating  grass;  do  you  believe  that?" 

"Of  course,"  said  the  three. 

"And  I  also  saw  sheep  and  cows  eating  grass;  do  you 
believe  that?" 

"Of  course,"  was  again  replied. 

"Well,  but  the  grass  which  they  had  formerly  eaten 
had,  by  digestion,  turned  to  feathers  on  the  backs  of  the 
geese,  to  bristles  on  the  backs  of  the  swine,  to  wool  on 
the  sheep,  and  on  the  cows  had  turned  to  hair;  do  you  be- 
lieve that,  gentlemen?" 

"Certainly,"   they  replied. 

"Yes,  you  believe  it,"  he  rejoined,  "but  do  you  under- 
stand it?" 

The  night  has  a  thousand  eyes, 

And  the  day  but  one; 
Yet  the  light  of  the  bright  world  dies 

With  the  dying  sun. 

The  mind  has  a  thousand  eyes, 

And  the  heart  but  one; 
Yet  the  light  of  a  whole  life  dies 
When  love  is  done. 

— F.  W.  Bourdillon. 
[114] 


An  army  officer  tells  a  story  that  shows  courage  and 
quick  thinking  and  knowledge  of  what  to  do. 

One  of  the  cleverest  things  I  ever  saw  was  a  cowboy 
stopping  a  cattle  stampede.  A  herd  of  about  six  hundred 
had  broken  away  pell-mell,  with  their  tails  in  the  air,  and 
were  heading  straight  for  a  high  bluff,  where  they  would 
tumble  into  the  canon  and  be  killed. 

You  know  that  when  a  herd  gets  to  going  it  can't 
stop.  Those  in  the  rear  crowd  those  ahead,  and  away 
they  go.  I  wouldn't  have  given  a  dollar  a  head  for  that 
herd,  but  the  cowboy  spurred  up  his  mustang,  galloped 
around,  came  in  right  in  front  of  the  herd,  cut  across 
their  path  at  a  right  angle,  and  then  galloped  leisurely 
on  the  edge  of  that  bluff,  halted  and  looked  around  at 
that  wild  mass  of  beef  coming  right  toward  him.  I  ex- 
pected to  see  him  killed  and  was  so  excited  I  could  not 
speak,  but  he  was  as  cool  as  a  cucumber. 

Well,  sir,  when  the  leaders  had  got  within  about  a 
quarter  of  a  mile  of  him  I  saw  them  try  to  slack  up,  though 
they  could  not  do  it  very  quickly.  But  the  whole  herd 
seemed  to  want  to  stop,  and  when  the  cows  and  steers 
in  the  rear  got  about  where  the  cowboy  had  cut  across 
their  path,  I  was  surprised  to  see  them  stop  and  commence 
to  nibble  at  the  grass.  Then  the  whole  herd  stopped, 
wheeled,  straggled  back  and  went  to  fighting  for  a  chance 
to  eat  where  the  rear-guard  was. 

You  see  that  cowboy  had  opened  a  big  bag  of  salt  he 
had  brought  out  from  the  ranch  to  give  the  cattle  and  as 
he  was  galloping  in  front  of  the  herd  he  had  scattered 
the  salt  across  their  path. 

A  certain  shrewd  Hebrew  merchant,  whom  we  shall 
call  Lejee,  built,  a  few  years  ago,  a  huge  department  store 
in  one  of  our  large  cities.  It  was  planned  to  occupy 
a  whole  block.  But  the  corner  lot,  forty  feet  square, 
was  owned  by  an  old  German  \vatohmaker  named  Weber, 
who  refused  to  sell  it. 

"No,  I  will  not  give  up  my  house,"  he  said.  *'I  bought 
it  when  property  here  was  cheap,  and  I  have  lived  and 
worked  here  for  fifty-two  years.  I  will  not  sell  it." 

"But,"  Lejee  patiently  reasoned,  "you  virtually  gave  up 
business  years  ago.  You  make  or  sell  no  watches  now. 
Your  sons  have  other  pursuits.  You  don't  live  in  the 
house,  only  sit  in  this  office  all  day  long,  looking  out  of 
the  window." 

The  office  was  a  small  corner  room  in  the  second  story, 
with  an  open  fireplace  around  which  were  set  some  old 
Dutch  tiles.  A  battered  walnut  desk  was  fitted  into  the 
wall,  and  before  it  stood  an  old  chair  with  a  sheepskin 
cover. 

The  old  man's  face  grew  red.  "You  are  right,"  he 
said.  "I  don't  work  here.  I  have  enough  to  live  on  with- 

[115] 


out  work.  But  I  am  an  old  man,  and  want  to  live  in  this 
room.  It  is  home  to  me.  When  my  wife  and  I  first  came 
here  we  were  poor.  I  worked  in  the  shop  below,  but  we 
lived  here.  Greta  fried  the  cakes  and  wurst  over  that 
fire;  the  cradle  stood  in  that  corner.  Little  Jan  was  born 
here;  his  coffin  was  carried  out  of  that  door.  Greta  is 
dead  for  many  a  long  year.  But  \yhen  I  sit  here  and  look 
out  of  the  window,  I  think  she  is  with  me.  For  thirty 
years  she  and  I  looked  out  of  that  window  and  talked  of 
the  changes  in  the  street  below." 

Lejee  was  silenced  for  the  time,  but  began  his  argu- 
ments again  the  next  day,  doubling  his  offer. 

"The  lot  is  worth  that  to  me,"  he  said,  "as  I  own  the 
block,  but  to  nobody  else.  You  are  throwing  away  a  large 
sum  which  would  be  a  great  help  to  your  sons  that  you 
may  indulge  a  bit  of  sentiment.  Have  you  the  right  to  do 
that?" 

Weber  was  hard  pushed.  His  boys  were  struggling  on 
with  small  means;  this  money  would  set  them  on  their 
feet,  would  enable  them  to  marry.  What  right  had  he  to 
spoil  their  lives  that  he  might  sit  and  dream  of  old 
times.  The  next  day  he  gave  his  consent  and  the  sale 
was  made. 

The  old  man  lived  in  the  suburbs;  he  never  came  to 
that  part  of  the  town  while  the  building  was  in  progress. 
When  it  was  finished  and  the  huge  department  store  was 
thrown  open  to  the  public,  Lejee  one  day  asked  him  to 
come  in.  He  led  him  through  the  great  crowded  sales- 
rooms, piled  one  on  top  of  another  for  nine  stories,  and 
then  drew  him  into  a  narrow  passage  and  flung  open  a 
door. 

"There  is  your  little  office,  just  as  you  left  it,"  he  said. 
"We  have  built  around  it,  and  beside  it,  and  over  it,  but 
not  a  brick  in  it  has  been  touched.  There  is  your  fire  with 
the  old  tiles  and  your  desk,  and  your  chair  was  brought 
back  today.  It  is  your  office,  Mr.  Weber,  and  if  you  will 
sit  here  as  long  as  you  live  and  think  of  them  that  are 
gone,  and  watch  the  changes  in  the  street  below,  I  shall 
feel  there  is  a  blessing  on  the  big  house,  because  I  have 
a  friend  in  it." 


[116] 


LESSON  XXXV 


Study  the  grouping  in  this  address,  and  then  read  it 
with  full  and  free  expression. 

SECOND  INAUGURAL  ADDRESS 

Fellow  Countrymen: — At  this  second  appearing  to  take 
the  oath  of  the  Presidential  office,  there  is  less  occasion  for 
an  extended  address  thab  there  was  at  first.  Then  a 
statement,  somewhat  in  detail,  of  a  course  to  be  pursued 
seemed  very  fitting,  and  proper.  Now,  at  the  expiration  of 
four  years,  during  which  public  declarations  have  been 
constantly  called  forth  on  every  point  and  phase  of  the 
great  contest  which  still  absorbs  the  attention  and  en- 
grosses the  energies  of  the  nation,  little  that  is  new  could 
be  presented. 

The  progress  of  our  arms,  upon  which  all  else  chiefly 
depends,  is  as  well  known  to  the  public  as  to  myself,  and 
it  is,  I  trust,  reasonably  satisfactory  and  encouraging  to 
all.  With  high  hope  for  the  future,  no  prediction  in  re- 
gard to  it  is  ventured. 

On  the  occasion  corresponding  to  this  four  years  ago, 
all  thoughts  were  anxiously  directed  to  an  impending  civil 
war.  All  dreaded  it,  all  sought  to  avoid  it.  While  the  in- 
augural address  was  being  delivered  from  this  place, 
devoted  altogether  to  saving  the  Union  without  war,  in- 
surgent agents  were  in  the  city  seeking  to  destroy  it  with 
war — seeking  to  dissolve  the  Union  and  divide  the  effects 
by  negotiation.  Both  parties  deprecated  war,  but  one  of 
them  would  make  war  rather  than  let  the  nation  survive, 
and  the  other  would  accept  war  rather  than  let  it  perish, 
and  the  war  came.  One-eighth  of  the  whole  population  were 
colored  slaves,  not  distributed  generally  over  the  Union,  but 
localized  in  the  southern  part  of  it.  These  slaves  consti- 
tuted a  peculiar  and  powerful  interest.  All  knew  that  this 
interest  was  somehow  the  cause  of  the  war.  To  strengthen, 
perpetuate,  and  extend  this  interest  was  the  object  for 
which  the  insurgents  would  rend  the  Union  by  war,  while 
the  government  claimed  no  right  to  do  more  than  restrict 
the  territorial  enlargement  of  it. 

Neither  party  expected  for  the  war  the  magnitude  or 
the  duration  which  it  has  already  attained.  Neither  an- 
ticipated that  the  cause  of  the  conflict  might  cease  when, 
or  even  before  the  conflict  itself  should  cease.  Each  look- 
ed for  an  easier  triumph,  and  a  result  less  fundamental 
and  astounding.  Both  read  the  same  Bible  and  pray  to 
the  same  God,  and  each  invokes  his  aid  against  the  other. 

[117] 


It  may  seem  strange  than  any  men  should  dare  to  ask  a 
just  God's  assistance  in  wringing  their  bread  from  the 
sweat  of  other  men's  faces,  but  let  us  judge  not,  that  we 
be  not  judged.  The  prayer  of  both  could  not  be  answered. 
That  of  neither  has  been  answered  fully.  The  Almighty 
has  his  own  purposes.  "Woe  unto  the  world  because  of 
offenses,  for  it  must  needs  be  that  offenses  come,  but  woe 
to  that  man  by  whom  the  offense  cometh!"  If  we  shall 
suppose  that  American  slavery  is  one  of  those  offenses 
which,  in  the  providence  of  God,  must  needs  come,  but 
which  having  continued  through  His  appointed  time,  He 
now  wills  to  remove,  and  that  He  gives  to  both  North  and 
South  this  terrible  war  as  the  woe  due  to  those  by  whom 
the  offense  came,  shall  we  discern  there  any  departure 
from  these  divine  attributes  which  the  believers  in  a  living 
God  always  ascribe  to  Him?  Fondly  do  we  hope,  fervently 
do  we  pray,  that  this  mighty  scourge  of  war  may  speedily 
pass  away'.  Yet  if  God  wills  that  it  continue  until  all  the 
wealth  piled  by  the  bondmnn's  two  hundred  and  fifty 
years  of  unrequited  toil  shall  be  sunk,  and  until  every 
drop  of  blood  drawn  with  the  lash  shall  be  paid  by  another 
drawn  with  the  sword,  as  was  said  three  thousand  years 
ago,  so  still  it  must  be  said,  that  the  judgments  of  the 
Lord  are  true  and  righteous  altogether. 

With  malice  toward  none,  with  charity  for  nil,  with 
firmness  in  the  ri.erht  as  God  gives  us  to  see  the  right,  let 
us  finish  the  work  \ye  are  in,  to  bind  up  the  nation's 
wounds,  to  care  for  him  who  shall  have  borne  the  battle, 
and  for  his  widow  and  his  orphans,  to  do  all  which  may 
achieve  and  ehorish  a  just  and  a  lasting  peace  among  our- 
selves and  with  all  nations.  — Abraham  Lincoln. 


[118] 


LESSON  XXXVI 


After  working  at  the  last  few  lessons  the  student  will 
see  that  he  cannot  satisfactorily  separate  a  passage  into 
groups  until  he  has  decided  which  words  are  most  im- 
portant; which  are  the  key  words  and  which  merely  fill 
out  the  sentence.  The  key  words  assert  the  central 
thought  of  the  sentence  or  clause,  (the  rest  could  be  as- 
sumed) ;  not  the  central  thought  from  the  grammatical 
point  of  view,  but  as  it  lies  in  the  speaker's  mind;  the 
thought,  which  at  that  moment,  and  for  those  hearers, 
seems  to  the  speaker  most  needing  attention.  The  as- 
sumed part  does  not  need  to  be  asserted;  either  it  has 
been  previously  asserted  or  it  is  already  in  mind  because 
familiar  and  obvious. 

A  soft  answer  turneth  away  wrath; 
But  a  grievous  word  stirreth  up  anger. 

In  the  first  line  you  assert  "soft"  and  "wrath11;  in  the 
second  line  "grievous11  is  asserted  because  it  brings  out 
the  contrast  with  "soft11;  but  "anger11  is  assumed  and  not 
asserted  because  it  is  the  same  idea  that  has  already  been 
given  in  "wrath11;  so  that,  the  asserted  word  in  the  second 
line  is  "stirreth  up."  This  may  be  tested  by  leaving  out 
the  word  "anger"  and  putting  a  pronoun  in  its  place. 

A  soft  answer  turneth  away  wrath; 
But  a  grievous  word  stirreth  it  up. 

And  when  he  entered  again  into  Capernaum  after  some 
days,  it  was  noised  that  he  was  at  home.  And  many  were 
gathered  together,  so  that  there  was  no  longer  room  for 
them,' — no,  not  even  about  the  door;  and  he  spoke  the  word 
unto  them.  And  they  come,  bringing  unto  him  a  man  sick 
of  the  palsy,  borne  by  four.  And  when  they  could  not 
come  nigh  unto  him  for  the  crowd,  they  uncovered  the 
roof  where  he  was:  and  when  they  had  broken  it  up,  they 
let  down  the  bed  whereon  the  sick  of  the  palsy  lay.  And 
Jesus  seeing  their  faith  saith  unto  the  sick  of  the  palsy, 
Son,  thy  sins  are  forgiven.  — Mark  2:1-5. 

In  line  2  "many"  is  the  word  that  asserts  the  central 
thought.  The  fact  that  they  gathered  about  the  house  may 

[119] 


be  assumed  when  we  know  that  his  return  had  been  noised 
around.  In  the  sixth  line  "sick  of  the  palsy"  is  the  asserted 
phrase  because  this  is  the  most  noticeable  thing  about  the 
man;  but  the  next  time  this  phrase  occurs  it  is  not  as- 
serted but  assumed;  we  have  it  in  mind  already  so  that 
it  could  be  omitted  and  the  word  "man"  used  in  its  place. 
The  third  time  the  phrase  is  used  it  is  again  assumed;  it 
could  be  omitted  and  the  word  "him"  used  instead. 

In  the  following  sentence  from  "The  Merchant  of 
Venice,"  when  Shylock  refers  to  Jacob's  bargain  with 
Laban,  Antonio  says  to  his  friend: 

Mark  you  this  Bassanio,  the  devil  can  quote  Scrip- 
ture for  his  purpose. 

If  we  assert  "Scripture"  and  assume  "devil,"  then  the 
latter  refers  to  Shylock.  If  we  asesrt  "devil"  and  assume 
the  quoting,  then  "devil"  refers  to  Satan.  We  can  tell 
which  meaning  a  speaker  has  in  mind  by  noting  what  h« 
asserts  and  what  he  assumes. 

In  reading  aloud  or  speaking,  the  word  that  asserts  the 
prominent  idea  is  spoken  with  a  falling  inflection,  but 
there  is  no  pause  after  it,  the  voice  goes  downward  and 
onward.  It  is  convenient  and  suggestive  therefore  to  mark 
the  assertive  work  by  a  line  sweeping  down  through  it 
and  continuing  onward. 

I  t^ld  him  my  name — or — I  told  him  njry  name. 

Note:  This  term  "assertion"  or  "assertive  word"  must 
not  be  confused  with  affirmation;  the  latter  is  simply  a 
statement  of  fact,  and  may  use  any  form  of  inflection.  As- 
sertion is  the  purpose  to  point  out  with  the  voice  the 
significance  of  certain  things  that  the  structure  has  not 
made  prominent  or  plain  enough.  Many  people  call  this 
the  emphatic  word,  but  that  is  not  the  best  term  for  it. 

Point  out  and  mark  the  assertive  words  in  the  following 
examples. 

1.  Then  came  to  Him  the  disciples  of  John,  saying,  Why 
do  we  and  the  Pharisees  fast  oft,  but  thy  disciples  fast  not? 
And  Jesus  said  unto  them,  Can  the  companions  of  the 
bridegroom  mourn,  as  long  as  the  bridegroom  is  with 
them?  But  the  days  will  come,  when  the  bridegroom  shall 
be  taken  away  from  them,  and  them  they  will  fast. 

—Mark  9:14-15. 
[120] 


2.  Great  in  life,   he  was  surpassingly  great  in  death. 

3.  And  the  Lord  said  unto  him,  Loose  the  shoes  from 
thy  feet:     for  the  place  whereon  thou  standest  is  holy 
ground. — Acts  7:33. 

4.  Cassius.    Tell  us  the  manner  of  it  gentle  Gasca. 
Casca.  I  can  as  well  be  hanged  as  tell  the  manner  of  it. 

5.  Roll  on,  thou  deep  and  dark  and  blue  Ocean— roll! 
Ten  thousand  fleets  sweep  over  thee  in  vain; 
Man  marks  the  earth  with  ruin — his  control 
Stops  with  the  shore;— upon  the  watery  plain 
The  wrecks  are  all  thy  deep,  nor  doth  remain 

A  shadow  of  man's  ravage,  save  his  own, 
When,  for  a  moment,  like  a  drop  of  rain, 
He  sinks  into  thy  depths  with  bubbling  groan, 
Without  a  grave,  unknell'd,  uncoffin'd,  and  unknown. 

— Byron. 

6.  Ye  have  heard  that  it  was  said,  Thou  shalt  love  thy 
neighbor,  and  hate  thrne  enemy:  but  I  say  unto  you,  Love 
your  enemies  and  pray  for  them  that  persecute  you. 

—Matt.  5:43-44. 

7.  Breathes  there  the  man,  with  soul  so  dead, 
Who  never  to  himself  hath  said, 

"This  is  my  own,  my  native  land!" 

Whose  heart  hath  ne'er  within  him  burned, 

As  home  his  footsteps  he  hath  turned, 

From  wandering  on  a  foreign  strand! 

If  such  there  breathe,  go,  mark  him  well; 

For  him  no  Minstrel  raptures  swell; 

High  though  his  titles,  proud  his  name, 

Boundless   his  wealth,   as  wish   can  claim; 

Despite  those  titles,  power  and  pelf, 

The  wretch,  concentered  all  in  self, 

Living,  shall  forfeit  fair  renown, 

And  doubly  dying,  shall  go  down 

To  the  vile  dust,  from  whence  he  sprung, 

Unwept,  unhonored,  and  unsung. 

—Sir  Walter  Scott. 

8.  A  fool's  vexation  is  openly  known 
But  a  prudent  man  concealeth  shame. 

—Proverbs  12:16. 

9.  He  that  tilleth  his  land  shall  have  plenty  of  bread. 

—Proverbs  12:11. 
EXERCISES 

Many  people  when  speaking  contract  the  muscles  of  the 
neck,  and  this  strains  the  throat  and  prevents  the  free  play 

[121] 


of  the  vocal  organs.    Learn  to  keep  the  throat  relaxed.    Let 
the  organs  act  promptly  and  then  immediately  relax  again. 

Practice  exercises  24,  26,  29. 

37.  a.  Shake  larynx  by  moving  the  back  of  the  tongue 
up  and  down.  (Keeping  larynx  passive  and  re- 
laxed.) 

b.  Make  the  sound  of  initial  uk"   (without  emitting 

any  breath)   by  striking  the  back  of  the  tongue 
against  the  soft  palate,    k-k-k  k-k-k  k-k-k. 

c.  Sing  "koo-koo"  oh  each  degree  up  the  scale,  keep- 

ing throat  relaxed  and  emitting  very  little  breath. 

d.  Sing  "koo-koo-koo"  up  the  scale  in  a  similar  way. 

—Chamberlain. 


[122] 


LESSON  XXXVII 


Study  this  selection  from  a  speech  made  in  the  United 
States  Senate,  March  4,  1898,  and  mark  the  assertive  words. 

I  am  here  by  command  of  silent  lips  to  speak  once  and 
for  all  upon  the  Cuban  situation.  ...  I  shall  endeavor  to 
be  honest,  conservative,  and  just.  I  have  no  purpose  to 
stir  the  public  passion  to  any  action  not  necessary  and  im- 
perative to  meet  the  duties  and  necessities  of  American 
responsibility,  Christian  humanity,  and  national  honor.  I 
would  shirk  this  task  if  I  could,  but  I  dare  not.  I  cannot 
satisfy  my  conscience  except  by  speaking-,  and  speaking 
now. 

I  went  to  Cuba  firmly  believing  that  the  condition  of 
affairs  there  had  been  greatly  exaggerated  by  the  press,  and 
my  own  efforts  were  directed  in  the  first  instance  to  the 
attempted  exposure  of  these  supposed  exaggerations.  There 
has  undoubtedly  been  much  sensationalism  in  the  jour- 
nalism of  the  time,  but  as  to  the  condition  of  affairs  in 
Cuba  there  has  been  no  exaggeration,  because  exaggeration 
has  been  impossible. 

Under  the  inhuman  policy  of  Weyler  not  less  than 
400,000  self-supporting,  simple,  peaceable,  defenceless  coun- 
try people  were  driven  from  their  homes  in  the  agricultural 
portions  of  the  Spanish  provinces  to  the  cities,  and  im- 
prisoned upon  the  barren  waste  outside  the  residence  por- 
tions of  these  cities  and  within  the  lines  of  entrenchment 
established  a  little  way  beyond.  Their  humble  homes  were 
burned,  their  lields  laid  waste,  their  implements  of  hus- 
bandry destroyed,  their  live  stock  and  food  supplies  for 
the  most  part  confiscated.  Most  of  these  people  were  old 
men,  women  and  children.  They  were  thus  placed  in 
hopeless  imprisonment,  without  shelter  or  food.  There 
was  no  work  for  them  in  the  cities  to  whicti  they  were 
driven.  They  were  left  there  with  nothing  to  depend 
upon  except  the  scanty  charity  of  the  inhabitants  of  the 
cities,  and  with  slow  starvation  their  inevitable  fate.  .  .  . 

I  counselled  silence  and  moderation  from  this  floor 
when  the  passion  of  the  nation  seemed  at  a  white  heat  over 
the  destruction  of  the  Maine;  but  it  seems  to  me  the  time 
for  action  has  now  come.  .  .  .  Every  hour's  delay  only 
adds  another  chapter  to  the  awful  story  of  misery  and 
death.  Only  one  power  can  intervene,  the  United  States 
of  America.  Ours  is  the  one  great  nation  of  the  New  World, 
the  mother  of  American  republics.  She  holds  a  position  of 
trust  and  responsibility  toward  the  peoples  and  affairs  of 

[123] 


the  whole  Western  Hemisphere.  It  was  her  glorious  ex- 
ample which  inspired  the  patriots  of  Cuba  to  raise  the  flag 
of  liberty  in  her  eternal  hills.  We  cannot  refuse  to  accept 
this  responsibility  which  the  God  of  the  universe  has 
placed  upon  us  as  the  one  great  power  in  the  New  World. 
We  must  act!  What  sha-11  our  action  be?  .  .  .  There  is 
only  one  action  possible,  if  any  action  is  taken;  that  is,  in- 
tervention for  the  independence  of  the  island.  .  .  . 

But  we  cannot  intervene  and  save  Cuba  without  the 
exercise  of  force,  and  force  means  war;  war  means  blood. 
...  I  believe  in  the  doctrine  of  peace;  but  men  must  have 
liberty  before  there  can  be  any  abiding  peace.  When  has  a 
battle  for  humanity  and  liberty  ever  been  won  except  by 
force?  What  barricade  of  wrong,  injustice,  and  oppres- 
sion has  ever  been  carried  except  by  force? 

Force  compelled  the  signature  of  unwilling  royalty  to 
the  great  Magna  Gharta;  force  put  life  into  the  Declaration 
of  Independence  and  made  effective  the  Emancipation  Proc- 
lamation; force  waved  the  flag  of  Revolution  over  Bunker 
Hill  and  marked  the  snows  of  Valley  Forge  with  blood- 
stained feet;  force  held  the  broken  line  of  Shiloh,  climbed 
the  flame-swept  hill  at  Chattanooga,  and  stormed  the 
clouds  on  Lookout  Heights;  force  marched  with  Sherman 
to  the  sea,  rode  with  Sheridan  in  the  Valley  of  the  Shen- 
andoah,  and  gave  Grant  victory  at  Appomattox.  .  .  .  The 
time  for  God's  force  has  come  again.  Let  the  impassioned 
lips  of  American  patriots  once  more  take  up  the  song: 

In  the  beauty  of  the  lilies  Christ  was  born  across  the  sea, 
With  a  glory  in  His  bosom  that  transfigured  you  and  me. 
As  He  died  to  make  men  holy,  let  us  die  to  maxe  men  free, 
For  God  is  marching  on. 

Others  may  hesitate,  others  may  procrastinate,  others 
may  plead  for  further  diplomatic  negotiations,  which  means 
delay,  but  for  me,  I  am  ready  to  act  now,  and  for  my  action 
I  am  ready  to  answer  to  my  conscience,  my  country,  and 
my  God.— John  M.  Thurston. 

1.  Study  the  following  sonnet  until  you  understand  it. 

2.  Write  a  condensative  paraphrase  of  it.     (50  words.) 

3.  Mark  the  assertive  words  in  the  poem. 

The  world  is  too  much  with  us;  late  and  soon, 
Getting  and  spending,  we  lay  waste  our  powers: 
Little  we  see  in  nature  that  is  ours; 
We  have  given  our  hearts  away,  a  sordid  boon! 
The  Sea  that  bares  her  bosom  to  the  moon; 
The  winds  that  will  be  howling  at  all  hours, 
And  are  upgathered  now  like  sleeping  flowers; 
For  this,  for  everything,  we  are  out  of  tune; 
It  moves  us  not — Great  God!  I'd  rather  bo 
[124] 


A  pagan  suckled  in  a  creed  outworn; 

So  might  I,  standing  on  this  pleasant  lea 

Have  glimpses  that  would  make  me  less  forlorn; 

Have  sight  of  Proteus  rising  from  the  sea; 

Or  hear  old  Triton  blow  his  wreathed  horn. 

— Wordsworth. 

EXERCISES 

38.  a.  Yawn;  then  keeping  the  teeth  apart,  close  the  lips 
and  vibrate  the  vocal  chords  in  a  delicate  hum, 
with  no  breathiness,  m-m-m. 

b.  Join    to    this   delicate   sound   the   various   vowel 
sounds  m-ah,  m-oo,  m-e,  m-i,  without  breathi- 
ness. 
Test  by  holding  lighted  match  before  mouth. 


[125] 


LESSON  XXXVIII 


Discrimination 

You  have  learned  to  recognize  sentences  and  passages 
that  address  the  hearer's  reasoning  or  comparing  faculty. 
After  you  have  studied  a  passage  and  found  the  author's 
purpose  you  can  tell  the  type  of  Discrimination  from  Pre- 
sensation  or  from  Emotion  or  from  Volition.  The  next 
problem  is,  how  are  you  going  to  show  this  meaning  to 
your  hearer?  You  know,  by  careful  study,  that  a  certain 
passage  belongs  to  the  class  of  Discrimination,  and  appeals 
to  the  reason,  but  how  are  your  hearers  to  know  that? 
They  must  of  course  get  it  somehow  from  the  tone  of  your 
voice  and  from  your  gesture. 

Let  us  see  what  characteristics  of  tone  are  used  in  Dis- 
crimination. You  remember  that  the  characteristic  of 
Presentation  is  Time;  the  groups  being  larger  or  smaller, 
and  the  rate  of  movement  faster  or  slower,  according  to 
the  ease  or  difficulty  of  taking  in  the  thoughts.  The 
characteristic  of  Discrimination  is  Pitch;  when  you  show 
the  comparisons,  the  differences,  the  particular  points  to 
your  hearer,  the  tones  of  your  voice  change  from  a  high 
key  to  a  lower,  or  from  a  low  key  to  a  higher.  This 
change,  which  is  called  inflection,  draws  attention  to  the 
word  on  which  it  occurs,  and  so  draws  attention  to  the 
particular  aspect  of  the  thought  you  want  the  hearer  to 
consider. 

Cassius.    What's  the  matter?    You  look  pale. 

Casca.    Are  not  you  frightened? 

In  Casca's  reply  the  change  of  pitch  on  the  word  "you" 
indicates  a  contrast  between  Cassius  and  himself.  As  if 
Casca  said  "I  am  frightened  of  course,  are  you  not?" 

If  you  will  come,  I  will  help  you. 

On  the  word  "come"  the  voice  rises  about  three  notes. 
Why?  To  call  attention  to  the  condition  on  which  the 
help  will  be  given. 

[126] 


As  you  have  already  seen,  the  difference  between  what 
is  assumed  and  what  is  asserted  is  shown  by  inflection, 
the  voice  goes  downward  and  onward  on  the  assertive 
word,  and  the  assumed  portion  of  the  clause  or  sentence 
is  lighter  and  inclines  to  an  upward  inflection.  In  the 
next  few  lessons  we  shall  study  the  most  important  kinds 
of  thought  that  come  under  the  type  Discrimination. 

Momentary  Completeness.  You  give  thought  with  mo- 
mentary completeness  when  you  consider  it,  for  the 
moment,  as  an  entire  thought;  or  at  least  as  important 
enough  to  occupy,  for  the  time,  the  entire  attention. 

Sir,  we  have  done  everything  that  could  be  done  to 
avert  the  storm  which  is  now  coming  on.XWe  have 
petitioned, \ we  have  remonstrated,  \ we  have  suppli- 
cated, \  we  have  prostrated  ourselves  before  the  throne.  \ 
Our  petitions  have  been  slighted, X  our  remonstrances 
have  produced  additional  violence  and  insult,  \ our  sup- 
plications have  been  disregarded,  \  and  we  have  been 
spurned  with  contempt  from  the  foot  of  the  throne. \ 

The  reader  gives  these  clauses  in  momentary '  com- 
pleteness because  each  is  of  enough  importance  to  be  con- 
sidered in  itself,  and  not  as  a  mere  preliminary  to  some- 
thing that  follows.  He  says  by  this  falling  inflection:  we 
have  remonstrated,  keep  that  in  mind.  We  have  suppli- 
cated, that  must  not  be  overlooked. 

Note:  When  the  mind  gathers  up  the  preceding  thoughts 
and  feelings  in  a  concluding  statement  as  if  it  said  this  is 
the  culmination  of  the  whole  matter,  that  is  not  momentary 
but  Cumulative  Completeness.  The  voice  falls  in  this  also, 
but  the  falling  inflection  is  more  decided,  and  the  voice 
rises  in  a  preparatory  cadence  just  before  it  falls,  and 
thus  descends  about  five  tones. 

But  now,  in  this  Valley  of  Humiliation,  poor  Christian 
was  hard  put  to  it;  for  he  had  gone  but  a  little  way  be- 
fore he  espied  a  foul  fiend  coming  over  the  field  to  meet 
him:  his  name  is  Apollyon.  Now  the  monster  was  hid- 
eous to  behold:  he  was  clothed  with  scales  like  a  fish 
(and  they  are  his  pride) ;  he  had  wings  like  a  dragon, 
feet  like  a  bear,  and  out  of  his  belly  came  fire  and 
smoke;  and  his  mouth  was  as  the  mouth  of  a  lion. 

Find  two  other  examples  of  Cumulative  Completeness  in 
the  selection,  page  91. 

1.  Mark  the     cases     of     Momentary     Completeness  in 
"Crossing  the  Bar,"  page  27. 
[127] 


2.  Mark  the  cases  of  Momentary  Completeness  in  Lin- 

coln's speech  at  Gettysburg,  page  32. 

3.  Mark  the  cases  of  Momentary  Completeness  in  the 

passage  on  Garfield,  page  107. 

4.  Mark  the  cases  of  Cumulative  Completeness  in  these 

three  passages. 

EXERCISES 

Describe  exercise  32,  explain  its  purpose,  and  lead  the 
class  in  practice. 


L128] 


LESSON  XXXIX 


Expectation.  When  a  phrase  or  clause  is  a  preparation 
fur  some  statement  to  follow,  the  voice  shows  the  expecta- 
tion by  a  rising  inflection  at  the  end  of  the  phrase  or 
clause. 

If  you  will  come/  I  will  help  you. 

At  the  end  of  the  first  clause,  the  rising  inflection  in 
your  voice  should  lead  your  hearer  to  expect  something 
more.  This  expectation  is  found  wherever  a  condition 
is  expressed  or  implied. 

The  wretch  concenter'd  all  in  self, 
Living/,  shall  forfeit  fair  renown; 
And,  doubly  dying/,  shall  go  down 
To  the  vile  dust,  from  whence  he  sprung, 
Unwept,  unhonored,  and  unsung. 

Here  the  participle  states  a  condition.  It  is  equal  to — 
if  he  lives,  he  shall  forfeit,  etc. 

Point,  out  the  cases  of  expectation  in  the  following 
passages: 

Speak  the  speech,  I  pray  you,  as  I  pronounced  it  to 
you,— trippingly  on  the  tongue;  but  if  you  mouth  it,  as 
many  of  our  players  do,  I  had  as  lief  the  towncrier 
spake  my  lines.  Nor  do  not  saw  the  air  too  much  with 
your  hand  thus,  but  use  all  gently;  for  in  the  very  tor- 
rent, tempest,  and,  as  I  may  say,  whirlwind  of  your 
passion,  you  must  acquire  and  beget  a  temperance,  that 
may  give  it  smoothness. 

Nothing  in  my  hand  I  bring, 
Simply  to  Thy  cross  I  cling; 
Naked,  come  to  Thee  for  dress, 
Helpless,  look  to  Thee  for  grace; 
Foul  I  to  the  Fountain  fly, 
Wash  me,  Savior,  or  I  die. 

In  the  selection,  The  True  Kings  of  the  Earth,  page 
15.  mark  the  instances  (a)  of  expectation,  (b)  of  momen- 
tary completeness,  and  (c)  of  assertion. 

EXERCISES 

Describe  and  explain  the  purpose  of  exercise  33,  then 
lead  the  class  in  the  practise. 

[129] 


LESSON  XL 


Concession.  When  you  concede  a  point,  or  toss  it 
aside  as  not  worth  discussion,  when  you  mention  a  matter 
merely  to  dismiss  it,  without  taking  the  trouble  to  make  a 
positive  statement,  the  voice  expresses  this  "unpositive" 
state  of  mind  by  an  upward  inflection.  It  rises  about  four 
tones,  generally  with  a  quick  toss. 

This  concessive  attitude  is,  naturally,  more  common  in 
conversation  than  in  formal  discourse. 

There  are  probably  other  stores  open. 

As  far  as  that  goes,  he  behaved  well  enough. 

As  a  matter  of  course,  I  am  expecting  to  pay  for 
this. 

This  is  sometimes  called  a  negative.  If  you  use  that 
term  for  it,  you  must  not  confuse  negative  with  denial. 
We  should  speak  of  the  two  sides  of  a  debate  as  affirming 
and  denying.  To  say  a  thing  is  not  true  is  a  very  positive 
statement.  A  negative  is  not  the  opposite  of  an  affirmation, 
but  the  absence  of  any  affirmation. 

Mark  the  cases  (a)  of  concession,  (b)  of  expectation, 
and  (c)  of  momentary  completeness  in  "Christian's  Fight 
with  Apollyon"  on  page  91. 

Note:  In  Christian's  first  reply  notice  the  Hesitation. 
He  i.«  for  a  moment  embarrassed  by  fear.  In  doubt  or 
hesitation  the  voice  is  suspended,  going  neither  up  nor 
downdown,  e.  g.,  I — am  come — from  the  City  of  Destruction. 

Mark  the  same  things  in  the  following: 

Scrooge  took  his  melancholy  dinner  in  his  usual  mel- 
ancholy tavern;  and  having  read  all  the  newspapers,  and 
beguiled  the  rest  of  the  evening  with  his  banker's-book, 
went  home  to  bed.  He  lived  in  chambers  which  had  once 
belonged  to  his  deceased  partner. 

Now  it  is  a  fact  that  there  was  nothing  at  all  particular 
about  the  knocker  on  the  door,  except  that  it  was  very 
large.  It  is  also  a  fact  that  Scrooge  had  seen  it,  night 
and  morning,  during  his  whole  residence  in  that  place. 

[130] 


Then  let  any  man  explain  to  me,  if  he  can,  how  it  happened 
that  Scrooge,  having  his  key  in  the  lock  of  the  door  saw 
in  the  knocker  not  a  knocker  but  Marley's  face. 

He  went  upstairs  trimming  his  candle  as  he  went. 

Before  he  shut  his  heavy  door,  he  walked  through  his 
rooms  to  see  that  all  was  right.  He  had  just  enough 
recollection  of  the  face  to  desire  to  do  that. 

Sitting-room,  bed-room,  lumber-room.  All  as  they 
should  be.  Nobody  under  the  table,  nobody  under  the 
sofa;  a  small  fire  in  the  grate;  spoon  and  basin  ready; 
and  the  little  sauce  pan  of  gruel  (Scrooge  had  a  cold  in 
his  head)  upon  the  hob. 

Quite  satisfied,  he  closed  his  door,  and  locked  himself 
in,  which  was  not  his  custom.  Thus  secured  against  sur- 
prise, he  took  off  his  cravat;  put  on  his  dressing-gown 
and  slippers,  and  his  night-cap;  and  sat  down  before  the 
fire  to  take  his  gruel. — A  Christmas  Carol. 

EXERCISES 

Explain  the  reason  for  exercises  34  and  lead  the  class 
in  giving  some  suitable  and  familiar  sentences. 


[131] 


LESSON  XLI 


You  have  studied  the  most  important  things  involved  in 
Discrimination.  You  can  now  recognize  the  Author's  pur- 
pose and  show  it  by  your  voice,  when  it  is  momentary 
completeness  or  cumulative  completeness;  when  it  is  the 
hesitancy  of  doubt,  the  looking  forward  of  expectation,  or 
the  easy  toss  of  concession. 

You  can  with  very  little  practice  tell  cases  of  Exclama- 
tion, in  which  the  voice  rises  nearly  an  octave.  This  up- 
ward slide  is  not  always  on  the  last  word  of  the  sentence. 

What  a  beautiful  sight! 

Here  the  voice  rises  upon  "beautiful"  for  the  excla- 
mation is  about  the  beauty.  Exclamations  are  not  always 
followed  by  an  exclamation  point;  e.  g., 

Shall  not  the  judge  of  all  the  earth  do  right? 

This  is  an  exclamation  but  the  interrogation  point  is 
put  after  all  sentences  that  are  in  the  grammatical  form 
of  a  question,  and  therefore  mere  punctuation  is  not  a 
safe  guide  to  the  meaning  and  purpose  of  the  Author. 

Will  you  be  kind  enough  to  shut  the  door? 

This  of  course  has  the  grammatical  form  of  a  question, 
but  the  speaker  does  not  ask  because  he  is  ignorant  and 
wishes  information.  It  is  riot  a  real  question,  but  rather 
a  polite  form  of  command.  The  voice  therefore  instead 
of  rising  live  tones,  (as  it  does  in  a  real  question)  slides 
downward,  just  as  if  the  direction  or  command  had  been 
put  in  an  imperative  form: 

You  will  close  the  doorX. 

Whether  a  passage  is  a  real  question  can  be  decided  best 
by  paraphrasing  it  in  such  a  way  as  to  show  whether  the 
speaker  really  wants  information. 

Study  the  first  scene  of  "Julius  Caesar,"  page  88,  and 
decide  whether  each  question  is  a  real  question,  an  'ex- 
clamation, or  a  command. 

Mark  in  the  margin  the  real  questions,  the  exclamations, 
etc. 

[132] 


READING  "SIGNS." 

A  frontiersman  roads  what  he  calls  "signs"'  on  the 
prairies  as  readily  as  a  city  man  reads  the  sign-boards 
in  the  streets.  Tracks,  a  broken  twig,  a  crushed  weed,  and 
the  remains  around  a  camp-fire,  are  as  legible  to  a  cow-boy 
as  an  advertisement  to  a  reader.  A  Texas  paper  illustrates 
this  art  of  reading  "signs'1  by  the  following  narrative: 

"About  two  miles  from  town  he  suddenly  checked  his 
horse,  gazed  intently  on  the  ground,  and  said,  'Some  fel- 
low has  lost  his  saddle-horse  here  this  morning.' 

'Th«i*e  was  no  advertisement  on  any  of  the  trees,  offer- 
ing a  reward  for  a  lost  horse,  and,  as  there  was  no  lost 
horse  in  sight,  we  were  at  a  loss  to  understand  how7,  if  a 
horse  was  lost,  our  friend  could  know  so  much  about  it. 

"The  doctor  inquired,  'How  do  you  know  that  a  horse 
has  been  lost?' 

''  'I  see  his  tracks.' 

"  'Aro  there  not  hundreds  of  horses  pasturing  on  the 
prairie?  and  how  do  you  know  that  this  is  not  the  track 
of  one  of  them?' 

"'Because  he  is  shod;  and  the  horses  herding  on  the 
prairie  do  not  wear  shoes.' 

"  'How  do  you  know  that  he  is  a  saddle-horse,  and 
lost?' 

"  'I  see  a  rope-track  alongside  his  trail.  The  horse  has 
a  saddle  on,  and  the  rope  hangs  from  the  horn  of  the 
saddle.' 

"'But  why  may  he  not  be  a  horse  that  some  one  has 
ridden  over  this  way  this  morning?  and  why  do  you  insist 
that  he  is  lost?' 

"'Because,  if  a  man  had  been  on  his  bacK,  he  would 
have  ridden  him  on  a  straight  course.  But  this  horse  has 
moved  from  side  to  side  of  the  road  as  he  strolled  along, 
and  that  is  a  plain  sign  that  he  grazed  as  he  went,  and 
that  he  had  no  rider.1 

"  'After  that,  it  would  not  surprise  me,1  said  the  doctor, 
'if  you  were  to  tell  us  the  age  of  the  horse  and  the  name 
of  the  owner.' 

''Well,  that  would  not  be  very  hard  to  do.  There  are 
signs  that  have  told  me  the  owner's  name,  and  there  are 
other  signs  that,  if  I  had  time  to  examine,  would  tell  me 
his  age.  T  know  he  is  one  of  old  man  Pendergrast's 
horses.  Pendergrast  has  a  large  bunch  of  horses  down  in 
the  bottom,  and  an  old  darky  down  there,  does  all  his 
shooing,  and  shoes  no  other  horses  except  his.  So  we 
know  his  shoe-track  just  the  same  as  we  Know  his 
brand.1 " 

EXERCISES 

Describe  exercise  35  so  clearly  that  new  students,  if 
present,  would  know  how  and  why  to  do  it.  Lead  the 
class  in  practising  it. 

[133] 


LESSON  XLII 


Implied  Contrast.  The  last  element  that  we  shall  study 
in  Discrimination  is  comparison  or  contrast,  in  which  the 
speaker  implies  a  comparison  that  he  does  not  state  in 
words.  He  mentions  something  with  an  inflection  of  voice 
that  plainly  indicates  a  contrast  between  it  and  something 
else  not  there  mentioned.  Of  course  assertion  sets  oil  the 
asserted  word  or  idea  from  what  is  assumed,  and  there  is 
a  sort  of  contrast  in  that.  But  in  assertion  you  do  not 
contrast  something  you  say  with  something  you  leave  un- 
said. Indeed  there  is  no  definite  contrast  at  all  between 
what  you  assert  and  what  you  assume. 

I  did  not  recognize  him  at  first. 

This  is  a  simple  assertive  inflection,  downward  and 
onward. 

My  castles  are  my  king's  alone 
From  turret  to  foundation  stone*-- 

The  hand  of  Douglas  is  his  own. 

Here,  there  is  a  strong  contrast  between  his  castles 
(which  he  holds  as  a  vassal  or  renter  from  the  King),  and 
his  dignity,  over  which  even  the  king  has  no  authority. 
The  voice  shows  this  implied  contrast  by  rising  and  fall- 
ing upon  the  same  word.  This  double  motion  of  the  voice 
on  a  single  word  is  the  mind's  instinctive  way  of  indicat- 
ing a  contrast  that  is  not  fully  expressed  in  words. 

Daniel  Webster,  after  discussing  Hayne's  statement  that 
men  must  choose  liberty  or  union,  wishes  to  deny  that  he 
must  give  up  liberty  if  he  chooses  union,  and  says  he  will 
choose  Liberty  and  Union.  The  contrast  is  not  stated  in 
words,  but  is  shown  by  the  double  slide  in  the  voice  upon 
the  word  "and"  which  is  contrasted  in  Webster's  mind 
with  "or." 

1.  Find  five  or  six  cases  of  such  contrast  in  "Marmion 

and  Douglas"  page  74. 

2.  State  clearly  and  exactly  what  contrast  is  implied, 

and  paraphrase  each  so  as  to  bring  the  contrasted 
ideas  into  sharp  opposition. 
[134] 


3.  Study   this   section,    especially   the   last   paragraph, 
for  cases  of  contrast. 

LIBERTY  AND  UNION 

1.  I  profess,  sir,  in  my  career  hitherto,  to  have  kept 
steadily  in  view,  the  prosperity  and  honor  of  the  whole 
country,   and  the  preservation  of  our  federal   union.     It 
is  to  that  union  we  owe  our  safety  at  home,  and  our  con- 
sideration and  dignity  abroad.    It  is  to  that  union  that  we 
are  chiefly  indebted  for  whatever  makes  us  most  proud  of 
our  country.     That  union  we  reached  only  by  the  dis- 
cipline of  our  virtues,  in  the  severe  school  of  adversity. 
It  had  its  origin  in  the  necessities  of  disordered  finance, 
prostrate  commerce,  and  ruined  credit.    Under  its  benign 
influences,   these  great  interests   immediately  awoke,    as 
from   the   dead,   and   sprang  forth   with  newness   of  life. 
Every  year  of  its  duration  has  teemed  with  fresh  proofs 
of  its  utility  and  its  blessings;  and  although  our  territory 
has  stretched  out  wider  and  wider,  and  our  population 
spread  farther  and  farther,  they  have  not  outrun  its  protec- 
tion or  its  benefits.    It  has  been  to  us  all  a  copious  foun- 
tain of  national,  social,  and  personal  happiness. 

2.  I  have  not  allowed  myself,  sir,  to  look  beyond  the 
union,  to  see  what  might  lie  hidden  in  the  dark  recess 
behind.  I  have  not  coolly  weighed  the  chances  of  preserv- 
ing liberty,  when  the  bonds  that  unite  us  together  shall  be 
broken  asunder.     I  have  not  accustomed  myself  to  hang 
over  the  precipice  of  disunion,  to  see  whether,  with  my 
short  sight,  I  can  fathom  the  depth  of  the  abyss  below: 
nor  could  I  regard  him  as  a  safe  counselor  in  the  affairs 
of  this  government,  whose  thoughts  should  be  mainly  bent 
on   considering,  not  how  the  union  should  be  preserved, 
but  how  tolerable  might  be  the  condition  of  the  people, 
when  it  shall  be  broken  up  and  destroyed. 

3.  While  the  union  lasts  we  have  high,  exciting,  grati- 
fying prospects  spread  out  before  us,  for  us  and  our  chil- 
dren.   Beyond  that  I  seek  not  to  penetrate  tlie  vail.    God 
grant  that  in  my  day,  at  least,  that  curtain  may  not  rise. 
God  grant  that  on  my  vision  never  may  be  opened  what  lies 
behind.    When  my  eyes  shall  be  turned  to  behold,  for  the 
last  time,  the  sun  in  heaven,  may  I  not  see  him  shining 
on  the  broken  and  dishonored  fragments  of  a  once  glorious 
union;  on  states  dissevered,  discordant,  belligerent;  on    a 
land  rent  with  civil  feuds,  or  drenched,  it  may  be,  in  fra- 
ternal blood!    Let  their  last  feeble  and  lingering  glance, 
rather,  behold  the  gorgeous  ensign  of  the  republic,  now 
known  and  honored  throughout  the  earth,  still  full  high 
advanced,  its  arms  and  trophies  streaming  in  their  original 
luster,  not  a  stripe  erased  or  polluted,  nor  a  single  star 
obscured,  bearing  for  its  motto  no  such  miserable  interrog- 
atory as — What  is  all  this  worth?    Nor  those  other  words 

[135] 


of  delusion  and  folly — Liberty  first  and  union  afterward; 
hut  everywhere,  spread  all  over  in  characters  of  living' 
light,  blazing  on  all  its  ample  folds,  as  they  float  over  the 
sea  and  over  the  land,  in  every  wind  under  the  whole 
heavens,  that  other  sentiment,  dear  to  every  true  Ameri- 
can heart — Liberty  and  Union,  now  and  forever,  one  and 
inseparable  !u- Daniel  Webster. 

Note:  Sometimes  there  is  combined  with  the  idea  of 
contrast  another  idea  of  question,  concession,  or  expecta- 
tion,—as  in  the  second  paragraph  of  Webster's  speech: 

Not  how  the  Union  should  be  preserved, 

this  triple  inflection  of  the  voice  is  equal  to  an  inflection 
of  contrast  (/\)  and  in  addition  an  inflectionvof  expecta- 
tion (/)  /\  /  which  put  together  becomes  a  wave.  (~"^) 

In  Marmion's  reply  to  Douglas. 

This  to  me! 
the  triple  inflection  shows  contrast  and  exclamation. 

EXERCISES 

Describe  the  method  and  purpose  of  practising  exercise 
36,  then  lead  the  class.  Correct  any  errors. 


[136] 


LESSON  XLIII 


You  have  learned  to  classify  all  utterances  either  as 
Presentation,  or  Discrimination,  or  Emotion,  or  Volition. 
You  have  studied  Presentation  and  Discrimination  with 
some  thoroughness.  Now  you  are  to  learn  how  to  analyze 
a-nd  express  the  passages  that  contain  Emotion. 

Emotion  is  a  very  important  factor  in  speaking.  It 
kindles  the  imagination;  it  enlists  the  sympathies,  it  ce- 
rnents  the  speaker  and  hearers  together,  it  is  the  source  of 
eloquence,  and  the  incentive  to  action.  We  may  therefore 
expect  a  large  proportion  of  public  speech  to  be  tinged 
with  some  sort  of  Emotion, 

You  will  probably  find  more  difficulty  in  analyzing  Emo- 
tion than  you  found  in  studying  Presentation  and  Discrim- 
ination. Usually  the  Speaker  does  not  talk  in  order  to 
show  his  feeling,  but  his  feeling  manifests  itself  inciden- 
tally as  he  utters  his  thought.  Therefore,  because  emo- 
tion is  thus  expressed  incidentally,  it  is  at  first  difficult 
to  recognize  a  Speaker's  feelings  from  the  printed  page, 
though  you  have  no  such  difficulty  when  you  hear  him. 

This  makes  paraphrasing  especially  important.  And  in 
paraphrasing  a  passage  containing  emotion  you  must  make 
clear  and  vivid  not  only  the  ideas,  but  also  the  feelings  in- 
volved. You  need  to  get  freshly  in  mind  not  so  much 
what  the  Speaker  said,  as  the  feeling  he  showed  in  saying 
it. 

Read  these  two  stanzas  and  notice  the  differences  be- 
tween sensing  the  feeling  and  merely  reading  off  the 
words. 

SEEING   AND    NOT   SEEING 

The  one  with  yawning  made  reply: 
"What  have  we  seen?  Not  much  "have  I! 
Trees,  meadows,  mountains,  groves,  and  streams, 
Blue  sky  and  clouds,  and  sunny  gleams." 

The  other,  smiling  said  the  same; 
But  with  face  transfigured  and  eye  of  flame: 
'Trees,  meadows,  mountains,  groves,  and  streams! 
Blue  sky  and  clouds,  and  sunny  gleams!" 

— G.  T.  Brooks. 
[137] 


For  convenience  we  may  group  the  various  Feelings  into 
nine  classes:  Genial  Feeling,  Exalted  Feeling,  Stern  Feel- 
ing, Awesome  Feeling,  and  feelings  of  Tenderness,  Weari- 
ness, Stealthiness.  Agitation  and  Intensity. 

Genial  feeling  is  a  comfortable  and  buoyant  state  of 
mind,  serene  and  cheerful.  There  is  no  strong  emotion, 
but  a  mild  sense  of  pleasure  in  meeting  people  and  sharing 
one's  thoughts  with  them. 

His  reminiscences  of  good  cheer,  however  ancient  the 
date  of  the  actual  banquet,  seemed  to  bring  tlie  savor  of 
pig  or  turkey  under  one's  very  nostrils.  There  were  flavors 
on  his  palate,  that  had  lingered  there  not  less  than  sixty 
or  seven! y  years,  and  were  still  apparently  as  fresh  as  that 
of  the  mullon-chop  which  he  had  just  devoured  for  his 
breakfast. 

At  Lincoln  Cathedral  there  is  a  beautiful  painted  win- 
dow, which  was  made  by  an  apprentice  out  of  the  pieces 
of  gla^s  which  had  been  rejected  by  his  master. 

My  early  life  ran  quiet  as  the  brooks  by  which  I  sport- 
ed; ;md  when  at  noon  T  gathered  the  sheep  heneath  the 
shade,  and  played  upon  the  shepherd's  flute,  there  was  a 
friend,  the  son  of  a  neighbor,  to  join  me  in  the  pastime. 

Deep  sleep  had  fallen  on  the  destined  victim,  and  on  all 
beneath  his  roof.  A  healthful  old  man,  to  whom  sleep 
was  sweet — the  tirst  sound  slumbers  of  the  night  held  him 
in  their  soft  but  strong  embrace. 

To  meet  and  talk  with  one's  fellowmen  is  a  pleasure. 
An  unspoiled,  natural  man  has  a  genial,  cheerful  feeling 
whenever  he  sees  a  human  face.  A  man  in  normal  condi- 
tion, healthy,  vigorous,  comfortable,  will  show  this  feeling 
of  pleasure  and  kindliness  in  much  of  his  conversation. 

Tn  expressing  this  genial  feeling  his  bearing  will  natur- 
ally be  reposeful,  his  muscles  elastic  and  unconstrained. 
His  voice  will  be  in  the  flexible,  easy  pure  tone.  This 
quality  of  tone  is  resonant  and  musical,  and  is  produced 
with  the  least  possible  muscular  effort. 

Mark  in  the  margins  of  these  selections  all  the  feelings 
you  recognize,  but  especially  Genial  Feeling. 

Be  sure  to  read  those  passages  writh  genuine  cheerful- 
ness. 

Lucy  Stone  was  gifted  with  one  charm  in  which  the  ma- 
jority of  her  country  women  are  sadly  deficient.  She  was 
the  possessor  of  a  sweet,  rich,  mellow  voice,  penetrating 

[138] 


but  persuasive,  and  so  delightful  in  quality  that  persons 
who  had  heard  her  speak  only  once  would  sometimes  rec- 
ognize her  years  afterward  if  they  chanced  to  hear  her 
utter  a  single  sentence.  This  winning  voice,  united  with 
a  dignilied,  gentle  and  entirely  feminine  demeanor,  some- 
times enabled  her  to  win  curious  triumphs  over  rough  and 
turbulent  crowds. 

Once  at  an  anti-slavery  meeting  held  on  Cape  God,  at  a 
time  when  Abolitionists  were  dangerously  unpopular,  the 
crowd  which  gathered  around  the  open-air  platform  as 
the  time  approached  for  the  speaking  to  begin,  became  so 
unmistakably  threatening  and  mischievous  that  the  speak- 
ers announced  to  appear,  one  after  another — slipped  quietly 
away,  until  only  Stephen  Foster  and  Lucy  Stone  remained. 
Looking  down  upon  the  heaving  and  riotous  assembly,  she 
said  to  him  quietly: 

"You  had  better  run,  Stephen;  they  are  coming." 

"But  who  will  take  care  of  you?"  he  naturally  inquired. 

At  that  moment  the  mob  made  a  rush  for  the  platform, 
and  their  leader,  a  big  man  with  a  club,  sprang  upon  it 
close  beside  her.  Turning  to  him  without  a  moment's  hes- 
itation, and  calmly  laying  her  hand  within  his  arm,  she 
said: 

"This  gentleman  \yill  take  care  of  me." 

The  astonished  rioter  declared  immediately  that  he 
would,  and  tucking  her  arm  under  his  and  keeping  his 
club  in  the  other  hand,  he  marched  her  through  the  crowd, 
who  were  already  handling  Mr.  Foster  and  a  few  other 
Abolitionists  pretty  roughly.  Then  in  compliance  with  her 
fervent  entreaty,  he  mounted  her  upon  a  stump  and  stood 
guard  over  her  with  his  club  while  she  delivered  her 
address,  which  was  so  eloquent  and  effective  that  her 
hearers  desisted  from  further  violence,  ana  capped  the 
climax  by  actually  taking  up  a  collection  of  twenty  dol- 
lars to  repay  Mr.  Foster  for  the  destruction  of  his  coat, 
which  had  been  torn  from  top  to  bottom  in  the  struggle. 

FOUR   LITTLE    GRIZZLIES 

Their  mother  was  just  an  ordinary  silver  tip,  loving 
the  quiet  life  that  all  bears  prefer,  minding  her  own  busi- 
ness and  doing  her  duty  by  her  family,  asking  no  favors  of 
any  one  excepting  to  be  let  alone.  It  was  July  before  she 
took  her  remarkable  family  down  the  Little  Piney  to  the 
Claybull  and  showed  them  what  strawberries  were  and 
where  to  find  them.  Notwithstanding  their  mother's  deep 
conviction,  the  cubs  wore  not  remarkably  big  nor  bright; 
yet  they  were  a  remarkable  family,  for  there  were  four  of 
them,  and  it  is  not  often  a  grizzly  mother  can  boast  of 
more  than  two. 

The  wooly  coated  little  creatures  were  having  a  fine 
time  and  revelled  in  the  lovely  mountain  summer  and  the 
abundance  of  good  things.  Their  mother  turned  over  each 

[139] 


log  and  flat  stone  they  carnq  to.  The  moment  it  was  lifted, 
they  all  rushed  under  it,  like  a  lot  of  little  pigs,  to  pick 
up  the  ants  and  grubs  there  hidden.  It  never  occurred  to 
them  that  mammy's  strength  might  fail  some  time  and 
let  the  great  rock  d^op  just  as  they  went  under  it;  nor 
would  any  one  have  thought  so  that  might  have  chanced  to 
see  that  huge  arm  and  that  huge  shoulder  sliding  about 
under  the  great  yellow  robe  she  wore.  No,  no,  that  arm 
could  never  fail.  The  little  ones  were  quite  right.  So  they 
hustled  and  tumbled  over  one  another  at  each  fresh  log  in 
their  haste  to  be  first,  and  squealed  little  squeals  and 
growled  little  growls,  as  if  each  were  a  pig,  a  pup,  and  a 
kitten,  all  rolled  into  one. 

They  were  well  acquainted  with  the  common  brown 
ants  that  harbor  under  logs  in  the  uplands,  but  now  they 
came  for  the  first  time  on  one  of  the  ant  hills  of  the  great, 
fat,  luscious  wood  ant,  and  they  all  crowded  around  to  lick 
up  those  that  ran  out.  But  they  soon  found  that  they 
were  licking  up  more  cactus  prickles  and  sand  than  ants 
till  their  mother  said  in  Grizzly,  "Let  me  show  you  how." 
She  knocked  off  the  top  of  the  hill,  and  then  laid  her  great 
paw  flat  on  it  for  n  few  moments;  and,  as  tvie  angry  ants 
swarmed  to  it,  she  licked  them  up  with  one  lick  and  got  a 
rich  mouthful  to  crunch  without  a  grain  of  sand  or  cactus 
stinger  in  it.  The  cubs  soon  learned.  Each  put  his  little 
brown  paws,  so  that  there  was  a  ring1  of  paws  all  around 
the  ant  hill;  and  there  they  sat,  like  children  playing 
"hands,"  and  each  licked  the  right  and  then  the  left  paw, 
or  one  cuffed  his  brother's  ear  for  licking  a  paw  that  was 
not  his  own,  till  the  ant  hill  was  cleared  out  and  they  were 
ready  for  a  change. — Ernest  Seton-Thompson, 

Our  opponents  have  charged  us  with  being  the  pro- 
moters of  a-  dangerous  excitement.  They  have  the  effron- 
tery to  say  that  T  am  the  friend  of  public  disorder,  ]  am 
one  of  the  people.  Surely,  if  there  be  one  thing  in  a  free 
country  more  clear  than  another,  it  is  that  any  one  of  the 
people  may  speak  openly  to  the  people.  Tf  T  speak  to  the 
people  of  their  rights,  and  indicate  to  them  the  way  to 
secure  them, — if  T  sneak  of  their  danger  to  the  monopolists 
of  power, — am  T  not  a  wise  counselor,  both  to  the  people 
and  to  their  rulers? 

Suppose  T  stood  at  the  foot  of  Vesuvius,  or  ^tna,  and 
seeing  a  hamlet  or  a  homestead  planted  on  its  slope,  I  said 
to  the  dwellers  in  that  hamlet,  or  in  that  home,  "You 
see  that  vapor  which  ascends  from  the  summit  of  the 
mountain:  that  vanor  may  become  a  dense,  black  smoke, 
that  will  obscure  the  sky.  You  see  the  trickling  of  lava 
from  the  crevices  in  the  side  of  the  mountain:  that  trick- 
ling1 of  lava  may  become  a  river  of  fire*.  You  hear  that  mut- 
tering- in  the  bowels  of  the  mountain:  that  muttering  may 
become  a  bellowing  thunder,  the  voice  of  a  violent  con- 

[140] 


vulsion,  that  may  shako  half  a  continent.  You  know  that 
at,  your  foot  is  the  grave  of  great  cities,  for  which  there 
is  no  resurrection,  as  histories  tell  us  that  dynasties  and 
aristocracies  have  passed  away,  and  their  names  have  been 
known  no  more  forever." 

If  I  say  this  to  the  dwellers  upon  the  slope  of  the  mount- 
ain, and  if  there  comes  hereafter  a  catastrophe  which 
makes  the  world  to  shudder,  am  I  responsible  for  that  ca- 
tastrophe? I  did  not  build  the  mountain,  or  fill  it  with 
explosive  materials.  I  merely  warned  the  men  that  were 
in  danger.  So,  now,  it  is  not  I  who  am  stimulating  men 
to  the  violent  pursuit  of  their  acknowledged  constitutional 
rights. 

The  class  which  has  hitherto  ruled  in  this  country  has 
failed  miserably.  It  revels  in  power  and  wealth,  whilst  at 
its  feet,  a  terrible  peril  for  its  future,  lies  the  multitude 
which  it  has  neglected.  If  a  class  has  failed,  let  us  try  the 
nation. 

That,  is  our  faith,  that  is  our  purpose,  that  is  our  cry. 
Let  us  try  the  nation.  This  it  is  which  has  called  together 
these  countless  numbers  of  the  people  to  demand  a  change; 
and  from  these  gatherings,  sublime  in  their  vastness  and 
their  resolution,  I  think  I  see,  as  it  were,  above  the  hill- 
tops of  time,  the  glimmerings  of  the  dawn  of  a  better  and 
a  nobler  day  for  the  country  and  for  the  people  that  I  love 
so  well.  I— John  Bright. 

REVIEW   QUESTIONS 

1.  Should  a  Speaker  ever  show  any  emotion  he  does  not 

feel? 

2.  If  Hearers  see  no  reason  for  your  emotion  will  they 

respond? 

3.  Is  the  expression  of  emotion  ever  a  Speaker's  primary 

motive? 

4.  What  caution  is  necessary  in  Paraphrasing  Emotion? 

5.  Is  Genial  feeling  a  mild  or  a  strong  emotion? 


[141] 


LESSON  XLIV 


Note  how  much  gcnia-l  feeling  there  is  in  this  narrative, 
ond  read  it  with  bouyant  pleasure. 

JEAN    VALJEAN    AND    THE    BISHOP 

This  evening  the  Bishop  had  remained  in  his  bedroom 
until  a  late  hour.  At  eight  o'clock  Madame  Magloire  came 
in  as  usual  to  fetch  the  silver  from  the  wall-cupboard,  and 
the  Bishop  feeling  that  supper  was  ready,  and  that  his 
sister  might  be  waiting,  closed  his  book,  rose  from  the 
table  and  walked  into  the  dining-room. 

There  was  a  loud  rap  at  the  front  door.  "Come  in," 
said  the  Bishop.  A  man  entered  and  stopped;  the  fire- 
light fell  on  him;  he  was  hideous. 

"My  name  is  Jean  Valjcan.  I  am  a  galley-slave,  and 
have  spent  nineteen  years  in  the  prison.  I  was  liberated 
four  days  ago,  I  have  been  walking  for  days,  and  today  I 
have  marched  thirty-six  miles.  On  coming  into  the  town 
I  went  to  the  inn,  but  was  sent  away  in  consequence  of 
my  yellow  passport.  T  went  to  another  inn,  and  the  land- 
lord said  to  me,  'Be  off!'  I  went  to  the  prison  but  the  jailer 
would  not  take  me  in.  I  was  lying  down  in  the  square 
when  a  good  woman  pointed  to  your  house  a-nd  said,  'Go 
and  knock  there.'  I  have  money  which  I  earned  by  my 
nineteen  years'  toil.  I  am  very  tired  and  frightfully  hungry; 
will  you  let  me  stay?" 

"Madame  Magloire,  you  will  lay  another  plate,  knife 
and  fork." 

The  man  advanced,  "Wait  a  minute;  that  will  not  do. 
Did  you  not  hear  me  say  that  I  was  a  galley-slave,  a  con- 
vict, and  had  just  come  from  the  prison.  Here  is  my  pass- 
port, yellow,  you  see,  which  turns  me  out  wherever  I 
go:  Mean  Valjean,  a  liberated  convict,  has  remained  nine- 
teen years  at  the  galleys, — five  years  for  robbing  with 
housebreaking,  fourteen  years  for  trying  to  escape  four 
times.  The  man  is  very  dangerous.'  All  the  world  has 
turned  me  out;  and  are  you  willing  to  receive  me?  Will 
you  give  me  some  food  and  a  bed?  Have  you  a  stable?" 

"Madame  Magloire,  you  will  put  clean  sheets  on  the 
bed  in  the  alcove.  Sit  down  and  warm  yourself,  sir.  We 
shall  sup  directly,  and  your  bed  will  be  got  ready  while  we 
are  supping." 

"Is  it  true?  What?  You  will  let  me  stay;  you  will  not 
turn  me  out?  You  call  me,  'Sir'!  I  shall  have  supper;  a  bed 
with  mattresses  and  sheets  like  anybody  else!  For  nineteen 
years  I  have  not  slept  in  a  bed.  I  will  pay  handsomely. 
What  is  your  name,  Mr.  Landlord?" 

[142] 


"F  am  a  priest  living  in  this  house." 

"A  priest!  oh,  what  a  worthy  priest!  Then  you  do  not 
want  me  to  pay?" 

"iS'o,  keep  your  money.  How  long  did  you  take  earn- 
ing1 these  hundred  francs?" 

"Ninetee'n  years!"     The  Bishop  gave  a  deep  sigh. 

Madame  Magloire  came  in  bringing  a  silver  spoon  and 
fork,  which  she  placed  on  the  table. 

''Madame  Magloire,  lay  them  as  near  as  you  can  to  the 
fire.  The  night  breeze  is  sharp  on  the  Alps,  and  you  must 
be  cold,  sir." 

Each  time  he  said  "sir"  in  his  gentle,  grave  voice  the 
man's  face  was  illumined.  "Sir"  to  a  convict  is  the  glass 
of  water  to  the  shipwrecked  sailor.  Ignominy  thirsts  for 
respect. 

"This  lamp  gives  a  very  bad  light."  Madame  Magloire 
understood  and  fetched  from  the  chimney  of  Monseigneur's 
bedroom  two  silver  candlesticks,  which  she  placed  on  the 
table  ready  lighted. 

"Monsieur  le  Cure,  you  are  good,  you  receive  me  as  a 
friend  and  light  your  wax  candles  for  me,  and  yet  I  have 
not  hidden  from  you  whence  I  come." 

The  Bishop  gently  touched  his  hand. 

"You  need  not  have  told  me  who  you  are;  this  is  riot 
my  house  but  the  house  of  Christ.  This  door  does  not  ask 
a  man  whether  he  has  a  name,  but  if  he  has  sorrow.  You 
are  suffering,  you  are  hungering  and  thirsting,  and  so  be 
welcome.  And  do  not  thank  me  nor  say  that  I  am  re- 
ceiving you  in  my  house,  for  no  one  is  at  home  here  ex- 
cepting the  man  who  is  in  need  of  an  asylum.  I  tell  you 
who  are  a  passer-by,  that  you  are  more  at  home  than  I 
myself,  for  all  there  is  here  is  yours.  Why  do  I  \vant  to 
know  your  name?  Besides,  before  you  told  it  to  me,  you 
had  one  which  I  knew." 

"You   know   my  name?" 

"Yes,  you  are  my  brother." 

"I  was  very  hungry  when  I  came  in,  hut  you  are  so 
kind  that — it  has  passed." 

"You  have  suffered  greatly." 

"Oh,  the  red  jacket,  the  cannon  ball  on  your  foot,  a 
plank  to  sleep  on,  heat,  cold,  the  blows,  the  double  chain 
for  nothing,  a  dungeon  for  a  word,  even  when  you  are  ill 
in  bed,  and  the  chain-gang!  The  very  dogs  are  happier. 
Nineteen  years!  And  now  I  am  forty-six— and  the  yellow 
passport!" 

"Yes,  you  have  come  from  a  place  of  sorrow.  If  you 
leave  that  mournful  place  with  thoughts  of  hatred  and 
anger  against  your  fellow  man,  you  are  worthy  of  pity;  if 
you  leave  it  with  thoughts  of  kindliness,  gentleness  and 
peace,  you  are  worth  more  than  any  of  us." 

Meanwhile  Madame  Magloire  had  served  the  supper. 
[143] 


The  Bishop  during  the  whole  evening  did  not  utter  a  word 
which  could  remind  this  man  of  what  he  was. 

The  rooms  were  so  arranged  that  in  order  to  reach  the 
oratory  where  the  alcove  was  it  was  necessary  to  pass 
through  the  Bishop's  hedroom.  At  the  moment  he  went 
through  this  room  Madame  Magloire  was  putting  away  the 
plate  in  the  cupboard  over  the  bed  head. 

"I  trust  you  will  pass  a  good  night,"  said  the  Bishop. 

"Thank  you,  Monsieur  1'Abbe."  He  suddenly  turned, 
"What!  you  really  lodge  me  so  close  to  you  as  that?  Who 
tells  you  that  I  have  not  committed  a  murder?" 

"That  is  God's  concern." 

The  Bishop  stretched  out  two  fingers  of  his  right  hand, 
and  blessed  the  man,  who  did  not  bow  his  head,  and  re- 
turned to  his  bedroom. 

As  two  o'clock  peeled  from  the  cathedral  bell  Jean  Val- 
jean  awoke.  He  could  not  go  to  sleep  again,  his  thoughts 
were  confused,  but  one  kept  coming  back, — the  six  silver 
forks  and  spoons  and  the  great  ladle  which  alone  was  worth 
two  hundred  francs,  or  double  what  he  had  earned  in 
nineteen  years, — it  was  there,  a  few  yards  from  him.  His 
mind  struggled  for  a  good  hour. 

When  three  o'clock  struck  he  suddenly  opened  his  knap- 
sack, took  a  bar  in  his  right  hand,  walked  toward  the  door 
of  the  adjoining  room  and  pushed  it  lightly.  He  waited,  then 
pushed  more  boldly.  A  badly-oiled  hinge  suddenly  uttered  a 
hoarse  prolonged  cry  in  the  dark'ness.  Jean  Valjean  stopped, 
shuddering  and  dismayed.  A  few  minutes  passed;  nothing 
had  stirred.  He  had  heard  from  the  end  of  the  room  the  calm 
and  regular  breathing  of  the  sleeping  Bishop.  He  advanced 
cautiously.  At  this  moment  a  cloud  was  rent  asunder  and 
a  moonbeam  suddenly  illumined  the  Bishop-s  pale  face. 
•The  sleeper  seemed  to  be  surrounded  by  a  glory.  There  was 
almost  a  divinity  in  this  unconsciously  august  man.  Jean 
Valjean  was  standing  in  the  shadow  with  the  crowbar  in 
his  hand,  motionless  and  terrified.  He  had  never  seen  any- 
thing like  this  before,  and  such  confidence  Horrified  him. 
It  seemed  as  though  he  was  hesitating  between  two  abysses 
— the  one  that  saves  and  the  one  that  destroys;  he  was 
ready  to  dash  out  the  Bishop's  brains  or  kiss  his  hand. 
All  at  once  Jean  Valjean  went  straight  to  tne  cupboard, 
seized  the  plate  basket,  hurried  across  the  room,  opened 
the  window,  put  the  silver  in  his  pocket,  threw  away  the 
basket,  leaped  into  the  garden,  bounded  over  the  wall 
like  a  tiger,  and  fled. 

The  next  morning  at  sunrise  Monseigneur  was  walking 
outside  when  Madame  Magloire  came  running  toward  him 
in  a  state  of  great  alarm. . 

"Monseigrieur,  the  man  is  gone — the  plate  is  stolen." 

"Was  that  plate  ours?"  Madame  Magloire  was  speechless. 

"Madame   Magloire,   I  had  wrongfully  held  back  this 

[144] 


si  Ivor,  wlii  ch  belonged  to  the  poor.  Who  was  this  person? 
Evidently  a  poor  man." 

As  the  brother  and  sister  were  leaving  Hie  breakfast 
table  there  was  a  knock  at  the  door. 

"Come  in,"  said  the  Bishop. 

The  door  opened  and  a  strange  and  violent  group  ap- 
peared on  the  threshold.  Three  men  were  holding  a  fourth 
by  the  collar — the  fourth  was  Jean  Valjean. 

Monseigneur  had  advanced  as  rapidly  as  his  great  age 
permitted,  saying. 

"Ah,  there  you  are;  I  am  glad  to  see  you.  Why,  I  gave 
you  the  candlesticks,  too,  which  arc  also  silver.  Why  did 
you  not  take  them  away  with  the  rest  of  the  plate?" 

Jean  Valjean  looked  at  the  Bishop  with  an  expression  no 
human  language  could  describe. 

Monseigneur,  then  what  this  man  told  us  was  true.  We 
met  him  arid,  as  he  looked  as  if  he  were  running  away,  we 
arrested  him.  He  had  this  plate." 

"And  he  told  you  that  it  was  given  to  him  by  an  old 
priest  at  whose  house  he  had  passed  the  night?  I  see  it 
all.  And  you  brought  him  back  here;  that  is  a  mistake." 

The  police  loosed  their  hold  of  Jean  Valjean,  who  tot- 
tered back. 

"My  friend,  before  you  go  take  your  candlesticks." 

Jean  Valjean  was  trembling  in  all  his  limbs;  he  took  the 
candlesticks  mechanically,  and  with  wandering  looks. 

"Now",  go  in  peace.  By-the-by,  when  you  return,  my 
friend,  it  is  unnecessary  to  pass  through  the  garden,  for 
you  can  always  enter,  day  and  night,  by  the  front  door, 
which  is  only  latched." 

Then,  turning  to  the  police,  he  said,  "Gentlemen,  you 
can  retire." 

Jean  Valjean  looked  as  if  he  were  on  the  pofnt  of  faint- 
ing. The  Bishop  walked  up  to  him  and  said  in  a  low 


"Never  forget  that  you  have  promised  me  to  employ 
this  money  in  becoming  an  honest  man.  Jean  Valjean,  my 
brother,  you  no  longer  belong  to  evil,  but  to  good.  I  have 
bought  your  soul  of  you.  I  withdraw  it  from  black  thoughts 
and  the  spirit  of  perdition,  and  give  it  to  God." 

— Victor  Hugo. 


[145] 


LESSON  XLV 


Exalted  feeling  is  the  emotion  aroused  by  what  is  noble 
and  grand.  It  expresses  hearty  admiration,  a  sense  of 
greatness,  the  enthusiasm  of  a  lofty  hope,  the  exaltation  of 
a  deep,  rich  joy. 

Oh  to  be  in  England,  etc.  (page  107). 

As  the  mountains  are  round  about  Jerusalem, 
So  Jehovah  is  round  about  his  people. 

How  good  is  man's  life,  the  mere  living!  How  fit  to 

employ 
All  the  heart  and  the  soul  and  the  senses  for  ever  in 

joy! 

The  game's  afoot; 

Follow  your  spirit;  and  upon  this  charge, 
Cry,  God  for  Harry,  England,  and  St.  George. 

When  my  eyes  shall  be  turned,  etc.  (page  76). 

Prepare  ye  in  the  wilderness  the  way  of  Jehovah; 
make  level  in  the  desert  a  highway  for  our  God.  Every 
valley  shall  be  exalted,  and  every  mountain  and  hill 
shall  be  made  low;  and  the  uneven  shall  be  made  level, 
and  the  rough  places  a  plain;  and  the  glory  of  Jehovah 
shall  be  revealed,  and  all  flesh  shall  see  it  together; 
for  the  mouth  of  Jehovah  hath  spoken  it. 

—Isaiah  40:3-5. 

He  saith  unto  them,  But  who  say  ye  that  I  am?  And 
Simon  Peter  answered  and  said,  Thou  are  the  Christ, 
the  Son  of  the  living  God. 

To  express  this  Exalted  feeling,  the  mind  must  be 
kindled  by  imagination  (best  done  through  paraphrasing) 
so  that  mind  and  body  thrill  with  the  great  volume  of  feel- 
ing; and  the  tones  of  the  voice  become  expanded  and  deep- 
ened into  a  full,  rich,  pure  tone.  If  without  Inducing  the 
feeling  one  tries  to  imitate  it  by  making  his  voice  louder 
and  bigger,  he  will  become  pompous,  harsh  and  hoarse. 

Let  your  imagination  work  upon  each  of  the  examples 
in  this  lesson,  then  write  out  a  glowing  paraphrase  of 
each. 

[146] 


Read  the  passages  with  the  fervor  gained  from  paraphras- 
ing. Find  and  bring  into  class  a  good  example  of  Exalted 
feeling. 

EXERCISES 

Describe  exercise  37  so  clearly  that  new  students,  if 
present,  would  know  how  and  why  to  do  it.  Lead  the 
class  in  practising  it. 


[147] 


LESSON  XLVI 


Emotion  is  a  very  subtle  quality,  and  any  attempt  to 
manufacture  it  repels  the  hearers.  Any  suspicion  that  the 
speaker  is  parading  his  own  emotion,  or  trying  to  stir  up 
the  hearers'  feelings,  spoils  their  frank  and  friendly  rela- 
tions. 

Which  of  the  two  pictures  of  sunrise  has  more  emo- 
tion? 

Practice  reading  nil  of  these  selections  until  you  can  feel 
and  express  exultant  enthusiasm. 

I  had  occasion,  a  few  weeks  since,  to  take  the  early 
train  from  Providence  to  Boston;  and  for  this  purpose  rose 
at  two  o'clock  in  the  morning.  Everything  around  was 
wrapt  in  darkness  and  hushed  in  silence,  broken  only  by 
what  seemed  at  that  hour  the  unearthly  clank  and  rush  of 
the  I  rain.  It  was  a  mild,  serene,  midsummer's  night — the, 
sky  was  without  a  clovid— the  winds  were  whist.  The  moon 
then  in  the  last  quarter,  had  just  risen,  arid  the  stars 
shone  with  a  spectral  lustre  but  little  affected  by  her 
presence.  Jupiter,  two  hours  high,  was  the  herald  of  the 
day;  Ihe  pleiades,  just  above  the  horizon,  shed  their 
sweet  influence  in  the  east.  .  ,  .  Such  was  the  glorious 
spectacle  as  I  entered  the  train.  As  we  proceeded,  the 
timid  approach  of  twilight  became  more  perceptible;  the 
intense  blue  of  the  sky  began  to  soften;  the  smaller  stars, 
like  little  children,  went  first  to  rest:  the  sister  beams  of 
the  pliades  soon  melted  together;  but  the  bright  constel- 
lations of  the  west  and  north  remained 'unchanged.  Stead- 
ily the  wondrous  transfiguration  went  on.  Hand.s  of 
angels,  hidden  from  mortal  eyes,  shifted  the  scenery  of 
the  heavens;  the  glories  of  night  dissolved  into  the  glories 
of  dawn.  —Edward  Everett. 

Day! 

Faster  and  more  fast, 

O'er  night's  brim,  day  boils  at  last; 

Boils,  pure  gold,  o'er  the  cloud-cup's  brim 

Where   spurting  and   suppressed  it  lay, 

For  not  a  froth-flake  touched  the  rim 

Of  yonder  gap  in  the  solid  gray 

Of  the  eastern  cloud,  an  hour  away; 

But  forth  one  wavelet,  then  another,  curled, 

Till  the  whole  sunrise,  not  to  be  suppressed, 

Rose,  reddened,  and  its  seething  breast 

Flickered  in  bounds,  grew  gold,  then  overflowed  the  world. 

— Robert  Browning. 
[148] 


Breathes  there  the  man,  with  soul  so  dead, 
Who  never  to  himself  hath  said, 
"This  is  my  own,  my  native  land?" 
Whose  heart  hath  ne'er  within  him  burn'd, 
As  home  his  footsteps  he  hath  turn'd 
From  wandering  on  a  foreign  strand? 
If  such  there  breathe,  go,  mark  him  well; 
For  him  no  Minstrel  raptures  swell; 
High  though  his  titles,  proud  his  name, 
Boundless  his  wealth  as  wish  can  claim; 
Despite  those  titles,  power,  and  pelf, 
The  wretch,  concentered  all  in  self, 
Living,  shall  forfeit  fair  renown; 
And,  douhly  dying,  shall  go  down 
To  the  vile  dust,  from  whence  he  sprung, 
Unwept,  unhonor'd,  and  unsung. 

—Sir  Waller  Scott. 

OPPORTUNITY 

This  I  beheld,  or  dreamed  it  in  a  dream: — 

There  spread  a  cloud  of  dust  along  a  plain; 

And  underneath  the  cloud,  or  in  it,  raged 

A  furious  battle,  and  men  yelled,  and  swords 

Shocked  upon  swords  and  shields.    A  prince's  banner 

Wavered,  then  staggered  backward,  hemmed  by  foes. 

A  craven  hung  along  the  battle's  edge, 

And  thought,  "Had  I  a  sword  of  keener  steel — 

That  blue  blade  that  the  king's  son  bears — but  this 

Blunt  thing! — he  sna.pt  and  flung  it  from  his  hand, 

And  lowering  crept  away  and  left  the  field. 

Then  came  the  king's  sota,  wounded,  sore  Destead 

And  weaponless,  and  saw  the  broken  sword, 

Hilt  buried  in  the  dry  and  trodden  sand, 

And  ran  and  snatched  it,  and  with  battle  shout 

Lifted  afresh  he  hewed  his  enemy  down, 

And  saved  a  great  cause  that  heroic  day. 

—Edward  Rowland  Sill. 
(Used  by  permission  of  Houghton  Mifflin  Go.) 


[149] 


LESSON  XLVII 


Stern  feeling  includes  firmness,  haughtiness,  reproof, 
anger,  contempt,  and  any  feeling  of  hardness,  in  which  the 
speaker  does  not  lose  self-control.  Uncontrolled  anger, 
etc.,  is  classed  under  Fierceness. 

He  has  charged  me  with  being  connected  with 
the  rebels.  The  charge  is  utterly,  totally  and  meanly 
false. 

Pilate  answered:  What  I  have  written  I  have  writ- 
te,n. 

Now  what  I  want  is  Facts.  Teach  these  boys  and 
girls  nothing  but  Facts.  Facts  alone  are  wanted  in 
life. 

Hence!  home,  you  idle  creatures,  get  you  home.  Is 
this  a  holiday?  What!  know  you  not,  being  mechani- 
cal, you  ought  not  walk  upon  a  laboring  day  without 
the  sign  of  your  profession? 

But  when  the  king  came  in  to  behold  the  guests, 
he  saw  there  a  man  who  had  not  on  a  wedding-gar- 
ment: and  he  said  unto  him,  Friend,  how  earnest  thou 
in  hither  not  having  a  wedding-garment?  And  he 
was  speechless.  Then  the  king  said  to  the  servants, 
Bind  him  hand  and  foot,  and  cast  him  out  into  the 
outer  darkness;  there  shall  be  the  weeping  and  gnashing 
of  teeth.— 'Matthew  22:11-43. 

The  fathomless,  dominant  gaze  caught  and  held  his 
eyes.  "Mr.  Eaton,  I  came  here  to  crush  Ridgway.  I 
am  going  to  stay  here  till  I  do.  I'm  going  to  wipe 
him  from  the  map  of  Montana — ruin  him  so  utterly  that 
he  can  never  recover.  It  has  been  my  painful  duty  to 
do  this  with  a  hundred  men  as  strong  and  as  confi- 
dent as  he  is.  After  undertaking  such  an  enterprise, 
I 'have  never  faltered  a'nd  never  relented.  The  men  I 
have  ruined  were  ruined  beyond  hope  of  recovery. 
None  of  them  have  ever  struggled  to  their  feet  again. 
I  intend  to  make  Waring  Ridgway  a  pauper. 

Stephen  Eaton  could  conceive  nothing  more  merci- 
less than  the  calm  certainty  of  his  unemphasized 
words. — William  MacLeod  Raine. 

This  feeling  of  hardness  shows  itself  in  the  tense  and 
rigid  condition  of  the  whole  body,  as  well  as  in  the  con- 

[150] 


tracted  muscles  of  the  neck  and  throat.  Indeed  the  hard- 
ness in  the  mind  acts  upon  the  body  and  makes  it  rigid, 
and  this  muscular  contraction  involuntarily  influences  the 
vocal  organs  and  makes  the  tones  tense,  harsh,  and  me- 
tallic, 

Caution  is  very  needful  here  lest  you  rasp  and  strain 
the  delicate  vocal  organs,  and  produce  rawness  and  hoarse- 
ness. If  your  bearing  be  rigid,  its  tenseness  will  make 
the  voice  sufficiently  hard  without  any  effort  to  contract 
the  neck  muscles  or  rasp  the  cords.  The  attitude  inclines 
to  antagonism. 

Read  Gradgrind's  Idea  of  Education,  (page  79)  express- 
ing the  stern  feeling  without  straining  your  voice. 

EXERCISES 

Describe  exercise  38  so  clearly  that  new  students  would 
know  how  and  why  to  practice  it. 
Lead   the  class. 


[151] 


LESSON  XLVIII 


Awesome  feeling  is  the  emotion  caused  by  vastness, 
horror,  solemnity,  deep  reverence,  dread,  or  by  a  sense  of 
the  presence  of  something  superhuman. 

Vastness  or  grandeur  produces  elevated  feeling  if  it 
exhilerates  us,  but  if  it  weighs  us  down,  or  hushes  us 
with  a  sense  of  our  own  littleness, — that  is  awesome  feel- 
ing. The  speaker  feels  awed  and  overpowered,  almost 
stunned,  he  shrinks  into  himself,  and  lets  his  feelings  ex- 
press themselves  as  if  he  wrere  alone,  rather  than  address- 
ing others.  His  attitude  naturally  suggests  recoil;  his 
voice  is  shut  in  and  half  smothered,  it  is  a  hollow  reverb- 
eration within  tlie  chest.  We  find  passages  with  traces 
of  this  awesome  feeling  more  often  than  fully  developed 
examples  of  it. 

.Jehovah  is  in  his  holy  temple:  let  all  the  earth  keep  si- 
lence before  him.— Habakkuk  2:29. 

Shortly  a  Her  Mr.  Lincoln  was  shot,  his  cousin,  Dennis 
Hanks,  was  in  his  shop  pegging  away  on  a  shoe,  when 
somebody  stepped  in  and  said:  "Dennis,  Honest  Abe  is 
dead!"  "Dead,  dead,  Old  Abe  dead!  To  strike  him  after 
the  war  was  over!  I  can't  believe  it!" 

It  happened  one  day,  about  noon,  going  towards  my 
boat,  I  was  exceedingly  surprised  with  the  print  of  a 
man's  naked  foot  on  the  shore,  which  was  very  plain  to 
be  seen  in  the  sand.  I  stood  like  one  thunderstruck,  or  as 
if  I  had  seen  an  apparition.  I  listened,  I  looked  around 
me,  could  hear  nothing,  nor  see  anything.  I  went  up 
to  a  rising  ground,  to  look  farther.  I  went  up  the  shore, 
and  down  the  shore,  but  it  was  all  one;  I  could  see  no 
other  impression  but  that  one.  I  went  to  it  again  to 
see  if  there  were  any  more,  and  to  observe  if  it  might  be 
my  fancy;  but  there  was  no  room  for  that,  for  there  was 
exactly  the  very  print  of  a  foot, — toes,  heel  and  every 
part  of  a  foot.  How  it  come  thither  I  knew  not,  nor  could 
in  the  least  imagine.  But  after  innumerable  fluttering 
thoughts,  like  a  man  perfectly  confused  and  out  of  my- 
self. T  came  home  to  my  fortification,  not  feeling,  as  we 
say,  thi1  ground  I  went  on,  but  terrified  to  the  last  degree, 
looking  behind  me  at  every  two  or  three  steps,  mistaking 
every  bush  and  tree,  and  fancying  every  stump  at  a  dis- 

[152] 


lance  l,o  bo  a  man;  nor  is  it  possible  to  describe  how  many 
various  shapes  affrighted  imagination  represented  thing  to 
me  in,  bow  many  wild  ideas  were  found  every  moment  in 
my  fancy,  and  what  strange,  unaccountable  whimsies  came 
into  my  thoughts  by  the  way. — Robinson  Crusoe. 

While  climbing  the  upper  summits  of  the  mountains 
of  Sinai,  I  was  led  by  an  Arab  guide  who  was  familiar 
with  every  step  of  the  perilous  way.  Finally  we  came  to 
the  edge  of  a  threatening  precipice  of  granite,  which  sloped 
away  from  our  very  feet  far  down  to  a  yawning  ravine  of 
jagged  rocks  below..  Closer  and  closer  to  that  dizzy  edge 
lay  our  narrow  path,  until  the  path  actually  lost  itself,  at 
a  point  where  a  jutting  crag  before  us  seemed  to  forbid 
all  passage,  unless  directly  over  the  mad  precipice  itself. 
And  there  my  guide  disappeared,  for  the  moment.  He  had 
swung  around  that  crag,  nnd  was  no\v  above  and  beyond 
the  path  he  had  left. 

As  I  stood  for  a  moment,  with  whirling  brain,  at  that 
appalling  brink  of  death,  I  saw,  just  above  and  before  me, 
the  wriry  feet  of  my  trusty  guide  beyond  that  jutting  crag; 
and  1  heard  his  voice  calling  out  cheerily:  "Cling  to  my 
feet,  and  swing  yourself  over  the  pass!  I  can  hold  you! 
Have  no  fear!" 

It  was  not  a  tempting  thing  to  do.  But  it  was  that  or 
nothing.  I  caught  at  those  sturdy  ankles  with  a  grip  as 
for  my  life!  A  moment's  stay  of  breath!  One  spring  along 
the  frightful  edge!  The  crag  and  the  chasm  were  passed, 
and  1  aind  my  guide  were  together  safe  on  the  solid  rock. 

— Henry  Clay  Trumbull. 

Tn  India,  where  magic  is  a  recognized  business,  handed 
down  from  father  to  son,  there  are  thousands  of  jugglers. 
They  roam  about  the  country  playing  their  tricks,  which 
are  in  some  cases  more  wonderful  than  the  feats  of  civil- 
ized magicians.  The  Indian  juggler  has  no  elaborate  para- 
phernalia. All  his  appliances  are  contained  in  a  cotton 
bag.  He  is  nearly  naked,  and  his  stage  is  the  .floor  9f  a 
verandah  or  the  bare  ground.  Yet  he  performs  such  tricks 
as  the  following: 

The  man  took  an  oblong  basket  about  two  feet  long,  one 
foot  broad,  and  say  a  foot  and  a  half  high.  He  had  a  wo- 
man with  him,  and  this  woman  was  bound  hand  and  foot 
with  ropes,  aind  put  into  a  net  made  of  rope,  which  wyas 
securely  tied.  She  was  then  lifted  and  placed  in  the 
basket  on  her  knees.  The  whole  of  the  woman's  person, 
from  the  loins  upwards,  was  above  the  basket. 

The  woman  bent  her  head:  the  juggler  placed  the  lid 
of  the  basket  on  her  shoulders,  and  then  threw  a  sheet 
over  the  whole.  In  about  a  minute  he  pulled  away  the 
sheet,  folding  it  up  in  his  hands,  and  behold!  the  lid  was 
in  its  proper  place,  and  the  woman  was  gone! 

[153] 


The  juggler  now  took  a  sword  about  five  feet  long, 
and  with  it  he  pierced  the  basket  through  and  through 
in  all  directions,  but  there  was  no  sign  of  any  one  inside. 
He  even  removed  the  lid,  jumped  into  the  basket  with  his 
feet,  and  danced  in  it.  He  now  took  the  sheet,  and  after  we 
had  examined  it,  spread  it  over  the  basket,  holding  it 
tent-shaped,  the  apex  where  his  hand  was  being  about 
three  feet  from  the  ground.  In  a  minute  he  withdrew 
the  sheet,  and  behold!  the  woman  was  back  in  her 
old  position  on  her  knees  in  the  basket;  but  the  ropes 
and  net  had  disappeared,  and  she  was  now  unbound. 

Our  juggler  showed  us  a  parched  skin  which  had  once 
belonged  to  a  large  cobra.  We  examined  it,  and  were 
sure  it  was  a  serpent's  skin  and  nothing  more.  He  placed 
this  skin  in  a  circular  straw  basket  about  six  inches  deep. 
The  basket  was  likewise  examined,  and  we  found  no 
double  bottom  or  any  other  peculiarity  about  it. 

When  he  put  the  lid  upon  the  basket,  it  contained 
nothing  but  the  empty  skin.  The  wonderful  sheet  was 
spread  over  the  basket  containing  the  dry  skin.  After  the 
performance  of  some  mystic  manoeuvres  in  the  air  with 
a  little  wooden  doll,  the  sheet  was  withdrawn,  the  lid  re- 
moved, and  out  of  the  basket  arose  a  huge  hissing  cobra, 
his  hood  spread  in  anger,  and  his  forked  tongue  darting  in 
and  out  of  his  mouth. 

Some  native  servants  who  were  looking  on  fled;  but  the 
juggler  quickly  took  out  an  Indian  musical  instrument, 
and  began  to  play.  A  change  came  over  the  cobra;  his 
anger  died  away;  he  stood  up  with  half  of  his  body  in  a 
perpendicular  attitude,  and  began  to  sway  to  and  fro  in  a 
sort  of  serpent  dance  to  the  music.  In  a  word,  he  was 
charmed. 

One  juggler  told  a  native  servant,  whom  he  did  not 
know,  to  stretch  out  his  arm  palm  upwards.  Into  the 
outstretched  palm  he  placed  a  silver  two-anna  piece,  and 
—holding  out  his  own  bony  hand  to  show  us  that  it  was 
empty — he  lifted  the  coin  from  the  servant's  hand,  shut  his 
own  fist,  reopened  it  in  the  twinkling  of  an  eye,  and  an 
enormous  black  scorpion  dropped  into  the  servant's  palm, 
who  fled,  shrieking  with  terror. 

"God  of  our  fathers,  known  of  old; 

Lord  of  our  far-flung  battle  line, 
Beneath  whose  awful  hand  we  hold 

Dominion  over  palm  and  pine; 
Lord  God  of  Hosts,  be  with  us  yet, 
Lest  we  forget— lest  we  forget! 

"The  tumult  and  the  shouting  dies; 

The  captains  and  the  kings  depart; 
Still  stands  Thine  ancient  Sacrifice, 

An  humble  and  a  contrite  heart. 
[154] 


Lord  God  of  Hosts,  be  with  us  yet, 
Lest  we  forget— lest  we  forget! 

"Far-called  our  navies  melt  away; 

On  dune  and  headland  sinks  the  fire; 
Lo,  all  our  pomp  of  yesterday 

Is  one  with  Nineveh  and  Tyre! 
Judge  of  the  Nations,  spare  us  yet, 
Lest  we  forget— lest  we  forget! 

"If,  drunk  with  sight  of  power,  we  loose 
Wild  tqingues  that  have  not  Thee  in  awe; 

Such  boasting  as  the  Gentiles  use. 

Or  lesser  breeds  without  the  Law; 

Lord  God  of  Hosts,  be  with  us  yet, 

Lest  wre  forget — lest  we  forget! 

"For  heathen  heart  that  puts  her  trust 
In  reeking  tube  and  iron  shard, 

All  valiant  dust  that  builds  on  dust, 

And  guarding  calls  not  Thee  to  guard; 

For  frantic  boast  and  foolish  word, 

Thy  mercy  on  Thy  people,  Lord. 

— Rudyard  Kipling. 


[155] 


LESSON  XLIX 


The  emotions  studied  in  this  lesson  and  the  next  are 
often  grouped  together  because  they  are  all  expressed  by 
Breath  in  ess. 

The  feeling-  of  Weariness  or  exhaustion,  shows  itself 
in  breathy  tones  (sometimes  almost  a  sigh)  because  the 
mind  or  body  is  loo  tired  to  control  the  breathing  in  a 
normal  way;  so  the  tones  are  mixed  with  outcoming 
breath,-  that  is,  you  are  exhaling  while  saying  the  words. 

Old  Adam  says  to  Orlando: 

Dear  master,  I  can  go  no  further:  0,  1  die  for  food! 
Here  lie  I  down  and  measure  out  my  grave.  Farewell 
kind  master. 

Rosalind.    O  Jupiter,  how  weary  are  my  spirits. 
Touchstone.    I  care  not  for  my  spirits,  if  my  legs  were 
not  weary. 

Sometimes  the  exhaustion  is  caused  not  by  bodily  ex- 
ertion but  by  sutt'er  ing  or  weariness  of  spirit. 

O  Ephriam,  what  shall  1  do  unto  thee?  0  Judah,  what 
shall  I  do  unto  thee?  for  your  goodness  is  as  a  morn- 
ing cloud,  and  as  the  dew  that  goeth  early  away. 

— Hosea  G:-i. 

Shylock  (at  the  (dose  of  the  trial)  says:  I  am  not 
well,  1  pray  you  give  me  leave  to  go  from  hence. 

In  the  following  selections,  mark  the  passages  that  ex- 
press Weariness;  also  any  passages  that  express  Genial, 
Exalted,  Stern  or  Awesome  feelings.  Enter  into  the  spirit 
of  them,  and  read  each  with  sympathy. 

By  land  and  sea  I  travelled  wide; 

"My  thought  the  earth  could  span; 
But  wearily  I  turned  and  cried, 
"0  little  world  of  man!" 

I  wandered  by  a  greenwood's  side 

The  distance  of  a  rod; 
My  eyes  were  opened,  and  I  cried, 
"0  mighty  world  of  God!" 

— F.  W.  Bourdillon. 
[156] 


DEATH  OF  PAUL  DOMBEY 

When  the  sunbeams  struck  into  his  room  through  the 
rustling  blinds,  and  quivered  on  the  opposite  wall,  like 
golden  water,  he  knew  that  evening1  was  coming-  on,  and 
that  the  sky  was  red  and  beautiful.  As  the  reflection 
died  away,  and  a  gloom  went  creeping  up  the  wall,  he 
watched  it  deepen,  deepen,  deepen  into  night.  Then  he 
thought  how  the  long  unseen  streets  were  dotted  with 
lamps,  and  how  the  peaceful  stars  were  shining  overhead. 
His  fancy  had  a  strange  tendency  to  wander  to  the  river, 
which  he  knew  was  flowing  through  the  great  city;  and 
now  he  thought  how  black  it  was.  and  how  deep  it  would 
look  refleetine  the  hosts  of  stars;  and.  more  than  all,  how 
steadily  it  rolled  away  to  meet  the  sea. 

"Floy!     What   is  that?" 

"Where,  dearest?'1 

"There!  at  the  bottom  of  the  bed." 

"There's  nothing  there,  except  papa!'' 

The  figure  lifted  up  its  head  and  rose,  and,  coming  to 
the  bedside,  said: 

"My  own  boy!    Don't,  you  know  me?'' 

Paul  looked  it  in  the  face.  Before  he  could  reach 
both  his  hands  the  figure  turned  away  quickly  from 
little  bed.  and  went  out  at  the  door. 

The  next  time  he  observed  the  figure  sitting  at  the 
bottom  of  the  bed,  he  called. 

"Don't  be  so  sorry  for  me,  dear  papa.  Indeed,  I  am 
quite  happy!" 

His  father  comincr  and  bending1  down  to  him  he  held 
him  around  the  neck,  and  repeated  these  words  to  him 
several  times,  and  very  earnestly:  and  he  never  saw  his 
father  in  his  room  again  at  any  time,  whether  it  were  day 
or  night,  but  he  called  out,  "Don't  be  so  sorry  for  me! 
Indeed,  I  am  quite  happy!" 

How  many  times  the  golden  water  danced  upon  the 
wall,  hovv  many  nights  the  dark  river  rolled  towards  the 
sea  in  spite  of  him,  Paul  never  sought  to  know. 

One  night  he  had  been  thinking  of  his  mother  and  her 
picture  in  the  drawing  room  down  stairs.  The  train  of 
thought  suggested  to  him  to  inquire  if  he  had  ever  seen 
his  mother.  For  he  could  not  remember  whether  they  had 
fold  him  yes  or  no;  the  river  running  very  fast,  and  con- 
fusing his  mind. 

"Floy,  did  I  ever  see  mamma?" 

"No.  darling;  why?" 

"Did  I  never  see  any  kind  face,  like  mamma's,  looking 
at  me  when  1  wa.s  a  baby,  Floy?" 

"O  yes.  dear!" 

"Whose,  Floy?" 

"Your  old  nurse's.     Often." 

[157] 


"And  where  is  my  old  nurse?  Show  me  that  old  nurse, 
Floy,  if  you  please!" 

"She  is  not  here,  darling.    She  shall  come  tomorrow." 

"Thank  you,  Floy!" 

Little  Domhey  closed  his  eyes  with  these  words,  and 
fell  asleep.  When  he  awoke,  the  sun  was  high,  and  the 
broad  day  was  clear  and  warm.  Then  he  awoke, — woke 
mind  and  body, — and  sat  upright  in  his  bed.  He  saw  them 
now  about  him.  There  was  no  gray  mist  before  them,  as 
there  had  been  sometimes  in  the  night.  He  knew  them  ev- 
ery one,  and  called  them  by  their  names. 

"And  who  is  this?  Is  this  my  old  nurse?"  asked  the 
child,  regarding,  with  a  radiant  smile,  a  figure  coming  i'n. 

Yes,  Yes.  No  other  stranger  would  have  shed  those 
tears  at  sight  of  him,  and  called  him  her  dear  boy,  her 
pretty  boy,  her  own  poor  blighted  child.  No  other  woman 
would  have  stooped  down  by  his  bed,  and  taken  up  his 
wasted  hand,  and  put  it  to  her  lips  and  breast,  as  one  who 
had  some  right  to  fondle  it.  No  other  woman  would  have 
so  forgotten  everybody  there  but  him  and  Floy,  and  been 
so  full  of  tenderness  and  pity. 

"Floy!  this  is  a  kind,  good  face!  I  am  glad  to  see  it 
again.  Don't  go  away,  old  nurse.  Stay  here!  Good  by!" 

"Good  by,  my  child?"  she  cried,  hurrying  to  his  bed's 
h^ad.  "Not  good  by?" 

"Ah  yes!    Good  by!— Where  is  papa?" 

His  father's  breath  was  on  his  cheek  before  the  words 
had  parted  from  his  lips.  The  feeble  hand  waved  i'n  the 
air,  as  if  it  cried  "Good  by!"  aerain. 

"Now  lay  me  down;  and,  Floy  come  close  to  me,  and 
let  me  see  you." 

Sister  and  brother  wound  their  arms  around  each 
other,  and  the  golden  light  came  streaming  in,  and  fell  upon 
them,  locked  together. 

"How  fast  the  river  runs,  between  its  green  banks  and 
tho  rushes,  Floy!  Bnt,  it's  very  near  the  sea  now.  I  hear 
the  waves!  They  always  said  so!" 

Presently  he  told  her  that  the  motion  of  the  boat  upon 
the  stream  was  lulling  him  to  rest.  Now  the  boat  was 
out  at  sea.  And  now  there  was  a  shore  before  him.  Who 
stood  on  the  bank! — 

"Mamma  is  like  you,  Floy.    I  know  her  by  the  face!" 

The  prolden  ripple  on  the  wall  came  back  again,  and 
nothing  else  stirred  in  the  room.  The  old,  old  fashion! 
Th«>  lashion  that  came  in  with  our  first  parents,  and  will 
last  unchanged  until  our  race  has  run  its  course,  and  the 
wide  firmament  is  rolled  up  like  a  scroll.  The  old,  old 
fash  ir  n. — Death! 

O.  thank  God,  all  who  see  it.  for  that  older  fashion,  yet, 
o!  Immortality!  And  look  upon  us,  Angels  of  young  chil- 
dren, with  your  loving  eyes  when  the  swift  river  bears  us 
to  the  ocean.  — Charles  Dickens. 

[158] 


Another  emotion  that  causes  a  similar  breathless  or 
breathy  condition  is  the  feeling  of  Stealthiness.  This 
may  arise  from  a  sense  of  danger,  which  impels  to  secrecy 
or  from  the  impulse  of  caution. 

In  all  of  these  the  voice  is  subdued  and  has  something 
of  the  whispering  quality;  not  so  breathy  as  Weariness. 

(Enter  Ghost.) 

Marcellus.     Peace,   break   thee   off;    look   where    it 
comes  again!  —Hamlet  1:1,  40. 

Cassius.    Casca,  be  sudden  for  we  fear  prevention. 

— Julius  Caesar  3:1,19. 

Now  Kitty,  don't  you  tell  anybody  I've  runned  away. 

As  there  are  no  ladies  present,  I  may  confess  to  about 
seventy  years  myself. 

Find  examples  of  this  feeling  in  the  following,  do  not 
expect  a  whole  selection  to  be  drenched  in  stealthiness. 
It  may  affect  only  a  few  sentences,  but  we  must  be  sure 
of  those. 

After  mastering  the  selections,  read  each  artistically. 

Most  wild  animals  are  specialists;  that  is  to  say,  they 
are  highly  developed  in  one  particular  direction.  The  tiger 
is  great  as  a  stalker.  His  feet  seem  to  be  ushod  with  si- 
lence." R.  H.  Elliot,  for  many  years  a  resident  of  India, 
cites  an  experience  of  ofte  of  his  neighbors  illustrative  of 
this  point. 

He  had  been  much  annoyed  by  tigers,  and  at  last  tied 
a  bullock  out  in  a  clearing  and  took  up  his  own  position 
i'n  a  tree,  to  wait  till  the  tiger  should  come  after  the  bait. 
The  ground  was  covered  with  dried  leaves,  which  in  hot 
weather  are  so  brittle  that  even  the  walking  of  a  bird  over 
them  can  be  heard  for  a  good  distance,. 

In  no  very  long  time  a  large  tiger 'slipped  out  of  the 
forest,  and  slowly  edged  toward  the  bullock.  His  method 
was  so  elaborate  and  careful  that  the  man  who  saw  it 
used  to  declare  that  it  would  have  been  worth  a  thousand 
rupees  to  any  young  sportsman  to  have  witnessed  it. 

So  carefully  did  he  put  down  each  paw,  and  so  gradually 
did  he  crush  the  leaves  under  it,  that  not  a  sound  was  to 
be  heard.  Between. him  and  the  bullock  was  a  stump,  about 
four  feet  high,  with  long-projecting  surface  roots. 

He  got  upon  one  of  the  roots,  balanced  himself  care- 
fully, and  so  was  able  to  walk  quickly  and  silently  as  far 
as  the  stump.  He  approached  so  gradually  and  noiselessly, 

[159] 


arid  his  color  against  the  brown  leaves  was  so  invisible, 
that  he  was  close  upon  the  bullock  before  he  was  per- 
ceived. 

Then  instantly  the  bullock  charged.  The  tiger  eluded 
him.  and  in  a  moment  more  had  his  paws  on  the  bullock's 
neck  ready  to  drag  him  down.  Then,  like  a  flash,  he  caught 
sight  of  the  rope  by  which  the  bullock  was  tied,  and  turned 
and  sprang-  into  the  forest,  all  so  quickly  that  the  man  in 
the  tree  had  no  opportunity  to  fire. 

THE    OLD-ROSE    BLOUSE 

Mrs.  Chesley  herself  opened  the  door. 

"I  saw  you  coining,"  she  explained.  "Come  up  to  my 
room — quick!" 

With  light  footsteps,  Mrs.  Nelson  followed.  She  admired 
Mrs.  Chesley's  beauty  and  social  charm,  and  was  grateful 
for  her  kindness  to  herself,  a  shy  little  bride  in  a  strange 
town. 

"Oh!"  Mrs.  Nelson  exclaimed,  rapturously.  "It's  that 
imported  blouse  from  Suratt's.  isn't  it?  It's  perfectly 
lovely !" 

"I  simply  had  to  have  it — I  couldn't  go  out  another 
afternoon  in  my  old  one.  And.  my  dear,  there  is  one  in 
old  rose  that  you  must  have.  It  would  exactly  suit  you!" 

"But."  Mrs.  Nelson  faltered,  "I — I  couldn't!  Jack  is  just 
starting  in,  you  know,  and — 

Mrs.  Chesley  interrupted  her  with  an  amused  laugh. 
"I  know  all  about  that.  Of  course  you  wouldn't  ask  Jack. 
He'd  say.  'Why,  what's  t.lio  matter  with  that  blue  gown 
you  got  only  a  month  or  two  aero?'  Men  never  understand, 
and  you  can't  make  them;  but,  my  dear,  there  are  other 
ways'. 

"Do  you  suppose  I  asked  Charley  for  the  money  for  this? 
Not  much!  I  got  Mr.  Hoover  to  lend  me  the  money,  and  he 
inst  adds  it  to  the  month's  trrocerv  bill.  Mr.  Hoover  gets 
his  money  right  back,  I  get  my  blouse,  and  everybody's 
happy— all  through  a  little  diplomacy.  You  needn't  look 
shocked,  child;  everybody  does  it." 

"I — oh,  I  couldn't!"  Mrs.  Nelson  repeated. 

Mrs.  Chesley,  whose  good  nature  was  one  of  her  charms, 
lauatied  again.  "All  rierht,"  she  said,  "but  just  go  and 
look  at  that  old  rose.  I'll  rest  my  case  on  that.  I'm  sure 
you'll  sav  it's  a  bargain  vou  have  no  risht  to  miss." 

Mrs.  Nelson  had  no  intention  of  looking  at  the  old  rose, 
vet  somehow  she  found  herself  before  Suratt's  window. 
There  was  no  doubt  about  it — the  blouse  was  lovely. 
Slowly,  with  flushing  cheeks,  she  turned  toward  her 
butcher's. 

When  she  entered,  the  butcher  was  busy,  and  with 
heavily  boatintr  hea.rt,  she  stood  and  waited.  Suddenly 
she  turned  and  almost  ran  out  of  the  shop, 

[160] 


Jack  came  home  early  that  night,  and  something  in  his 
voice,  as  he  called  her,  made  her  hurry  dowta-stairs. 

"What  is  it?"  she  cried. 

"Just  a  hard  day,  litle  girl — a  little  harder  than  usual. 
You  wouldn't  understand.  But  it  was  a  stiff  fight  to  keep 
my  hands  clean.  I  was  almost  gone  once,  but  I  couldn't 
stand  it  not  to  be  able  to  look  you  square  in  the  face.  It 
was  your  battle,  Jess,  though  you  never  knew  it." 

Mrs.  Nelson  caught  her  breath.  Suppose  there  had  been 
an  old-rose  blouse  up-stairs? 


[161] 


LESSON  L 


The  hush  of  tenderness,  or  reverence,  is  less  breathy 
than  stealthiness,  and  has  a  liquid  quality  of  tone,  rather 
plaintive  and  sweet,  but  not  sentimental  or  mushy. 

Brutus  just  before  the  battle  says  to  the  sleeping  boy: 

If  I  do  live,  I  will  be  good  to  thee. 

I  heard  the  trailing  garments  of  the  Night 
Sweep  through  her  marble  halls! 

I  saw  her  sable  skirts  all  fringed  with  light 
From  the  celestial  walls! 

I  felt  her  presence,  by  its  spell  of  might, 

Stoop  o'er  me  from  above; 
The  calm  majestic  presence  of  the  Night, 

As  of  the  one  I  love. 

Mr.  and  Mrs.  Gladstone  lived  together  nearly  sixty 
years.  They  were  very  affectionate,  and  their  unconcealed 
devotio'n  to  each  other  was  delightful. 

In  her  old  age.  Mrs.  Gladstone  had  a  little  miniature  of 
herself  painted  which  pleased  Mr.  Gladstone  tremendously, 
it  was  such  a  pleasant,  charming  little  portrait.  One  day 
one  of  the  nephews  was  looking  at  it  in  Mrs.  Gladstone's 
absence,  and  said  to  Mr.  Gladstone  with  rather  a  rude 
ohuckle,  "Good,  very  good;  but  don't  you  think  it  rather 
flatters  the  old  lady?" 

Mr.  Gladstone  laid  his  hand  on  the  young  man's  shoulder 
and  said: 
-  "My,  boy,  it  is  the  truth  beautifully  told!" 

Once  when  Abraham  Lincoln  was  visiting  an  army  hos- 
pital, he  came  to  the  bedside  of  a  Vermont  boy  of  about  six- 
teen years  of  age,  who  was  mortally  wounded.  Taking  the 
dying  boy's  thin,  white  hand  in  his  own,  the  President 
said,  in  a  tender  tone,  "Well,  my  poor  boy,  what  can  I  do 
for  you?"  The  young  fellow  looked  up  into  the  President's 
kindly  face,  and  asked,  "Won't  you  write  to  my  mother 
for  me."  "That  I  will,"  answered  Mr.  Lincoln;  and  calling: 
for  a  pen,  ink.  and  paper,  he  seated  himself  by  the  side  of 
the  bed.,  and  wrote  from  the  boy's  dictation.  It  was  a  long 
letter,  but  the  President  betrayed  no  sign  of  weariness. 
When  it  was  finished,  he  rose,  saying:  "I  will  post  this  as 
soon  as  I  get  back  to  my  office.  Now,  is  there  anything 
else  I  can  do  for  you?"  The  boy  looked  up  appealingly 

[162] 


to  the  President.  "Won't  you  stay  with  me?"  he  asked. 
"I  do  want  to  hold  on  to  your  hand."  Mr.  Lincoln  at  once 
perceived  the  lad's  meaning.  The  appeal  was  too  strong 
for  him  to  resist,  so  he  sat  down  and  took  the  boy's  hand. 
For  two  hours  the  President  sat  there  patiently  as  though 
he  had  been  the  boy's  father.  When  the  end  came,  he  bent 
over  and  folded  the  thin  hands  upon  his  breast.  As  he 
did  so,  he  burst  into  tears,  and  left  the  hospital. 

Another  feeling  that  shows  itself  by  breathiness  of 
voice  is  very  different  from  the  others.  Fierceness,  or  any 
intensity  of  feeli'ng,  shows  the  speaker's  lack  of  self  control 
in  hurried  words  and  uncontrolled  breath.  His  intensity 
pushes  and  sweeps  the  words  out. 

And  darest  thou,  then, 
To  beard  the  lion  in  his  den— 
The  Douglas  in  his  hall? 

If  I  can  catch  him  once  upon  the  hip, 
I  will  feed  fat  the  ancient  grudge  T  bear  him. 
He  hates  our  sacred  nation,  and  he  rails 
On  me,  my  bargains,  and  my  well-won  thrift 
Which  he  calls  interest.    Cursed  be  my  tribe 
If  I  forgive  him. 

Mark  the  kinds  of  emotion  in  these  passages. 

As  the  royal  hunting  party  rode  gaily  across  the  draw- 
bridge from  the  castle  a  woman  flung  herself  before  the 
King,  clinging  to  his  stirrup.  She  was  old,  evidently  a 
peasant,  for  her  garments  were  in  rags. 

"Justice,  Sire,  Justice!"  she  cried  with  passionate 
iteration. 

"It  shall  be  yours.  Who  has  wronged  you?"  asked  the 
King. 

"Baron  Magnus.  He  has  ruined  my  daughter  and  slain 
my  son." 

Magnus  rode  forward  with  a  muttered  oath,  at  the 
same  time  freeing  his  foot  from  a  stirrup  that  he  might 
use  the  iron  as  a  weapon.  As  the  Baron  raised  to  strike, 
the  King  brought  the  loaded  end  of  his  heavy  ridimg  whip 
down  on  the  bare  wrist  of  Magnus. 

"A  lesson,  my  Lord,  which  you  have  long  needed.  The 
King  allows  no  interference  between  himself  and  his  sub- 
jects," cried  the  young  man. 

The  Baron  fell  back  purple  with  rage,  his  hand  groping 
for  the  sword  his  fingers  were  too  numb  to  draw. 

"This  to  me!  Were  you  thrice  a  king  I  should  have 
blood  for  it." 

"He  threatens  treason,"  cried  the  Ki'ng  sharply,  "Disarm 
him!  Bind  him!" 

[163] 


"There  does  not  live  the  man  that  dares  touch  me," 
cried  Magnus,  his  heavy  teeth  set,  the  veins  ill  his  temples 
arid  forehead  swelling  like  muscles. 

"Disarm  him!"  cried  the  King-  again. 

But  no  man  moved,  for  it  was  well  known  that  Magnus 
had  a  long  memory  to  treasure  an  affront,  and  that  in  the 
end  he  would  pay  the  debt  with  heavy  interest.  The  King 
leaped  from  his  horse  and  stepped  toward  the  raging  Baron. 
A  dozen  knights,  shamed  to  action  by  the  unwonted  reso- 
lution of  their  King,  flung  themselves  on  Baron  Magnus 
and  disarmed  him,  in  spite  of  his  lierce  struggles. 

"We  will  back  to  the  castle  and  hear  the  woman's  case 
now,"  said  the  King  quietly. 

"Indeed,  Sire,  these  futile  fits  and  moods  are  not  con- 
ducive to  the  strengthening  of  your  power,"  said  Car- 
risdale  in  a  low  voice  to  the  Kfiig.  "You  see  it  ends  in 
talk." 

"It  has  not  ended  yet,"  said  the  King,  correcting  him 
silkily. 

Carrisdale  started  and  looked  at  him  sharply. 

"Meanwhile  there  are  other  charges  waiting  for  a  hear- 
ing gainst  you.  Baron  Magnus— charges  of  sacrilege,  pil- 
lage and  murder,"  continued  the  King. 

"Let  them  wait.  I  have  no  mind  to  answer  them  now," 
answered  the  sulky  Baron  roughly,  gazing  defiantly  at  his 
feudal  lord. 

The  King  eyed  him  lazily  from  head  to  foot,  and  as  he 
looked  there  came  over  the  assembly  a  feeling  of  tense 
expectation,  a  subtle  sense  of  great  events  impending. 

"Baron  Magnus,  you  are  a  bold  villain.  You  have 
broken  all  laws  of  God  and  man.  In  all  your  life  I  know  of 
no  good  deed  you  have  done.  But  the  end  has  come.  It  is 
our  will  that  you  be  taken  into  the  courtyard  and  there, 
at  the  expiration  of  one  hour  granted  for  the  benefit  of 
your  guilty  soul,  be  duly  executed  for  the  expiation  of 
your  many  and  heinous  crimes." 

The  silence  was  painful  as  the  King  finished.  Mag- 
nus went  white,  them  red.  He  broke  into  a  roar  of  anger 
— cursing,  threatening,  raging.  When  coherency  of  speech 
came  to  him  he  screamed: 

"You  think  to  play  your  tricks  and  frighten  me,  you 
baby  king.  Name  of  the  devil,  I  will  pull  your  kingdom 
about  your  ears.  I  can  raise  tc'n  thousand  me;n  in  three 
hours." 

"It  will  be  two  hours  too  late  to  avail  you,"  said  the 
King  calmly. 

The  Earl  of  Carrisdale  could  scarce  believe  his  ears 
and  eyes. 

"What  means  your  Majesty?  Art  mad?  He  has  had  no 
trial,  and  he  is  a  noble  of  the  realm.  We  will  not  allow 
it.  He  has  done  no  more  than  others — -no  more  than  I 
myself,"  he  cried  sternly. 

[164] 


"I  had  >.not  finished,'*  answered  the  King.  "We  recog- 
ni/e  your  claims  to  our  attention,  my  Lord  of  Garrisdale. 
We  have  no  mind  to  neglect  you.  It  is  our  1'ui'ther  will 
that  you,  Hie-hard  Alwyn,  Earl  of  Carrisdale,  he  likewise 
and  at  the  same  time  executed  by  having  your  head 
stricken  from  your  body.  I  give  you  as  fair  a  trial  as 
you  gave  the  old  man  you  hanged,  or  Magnus  gave  the 
boy  he  butchered.  They  were  your  vassals;  you  are 
mine." 

"You  dare  mot!  You  dare  not!"  cried  Carrisdale,  white 
with  fear  and  anger.  "Your  nobles  will  not  stand  by  and 
see  it." 

The  King  swept  his  sword  from  its  sheath,  facing  the 
assembled  nobles. 

"Dare  I  not?"  he  cried,  his  eyes  glittering  fiercely,  his 
voice  for  the  first  time  stern  and  ringing.  "Dare  I  not, 
Richard  Alwyn?  You  shall  see.  Who  among  you,  my 
vassals,  would  step  between  your  King  and  his  righteous 
anger,  between  your  king  and  these  condemned  traitors?" 
He  paused  for  a  moment  but  no  man  moved.  Then  he  con- 
tinued: "It  is  well.  I  execute  you  both  for  a  pair  of  false, 
clumsy  knaves.  You  have  in  my  name  done  deeds  which 
would  shame  the  devil.  You  thought  me  weak  and  a  fool. 
Today  your  cup  is  full,  and  too  late  you  learn  your  mis- 
take.— William  McLeod  Raine. 


[165J 


LESSON  LI 


Agitated  feeling  may  be  the  result  of  either  merri- 
ment or  grief. 

All  gladness  does  not  produce  agitation  of  mind,  neither 
does  all  sorrow.  But  when  either  joy  or  sorrow  is  strong 
enough  to  agitate  the  mind,  the  expression  of  it  belongs 
to  this  class.  When  the  mind  is  thus  agitated  by  strong 
emotion,  the  nerves  aind  flesh  are  tremulous,  and  the  voice 
quavers.  The  attempt  to  imitate  these  deep  feelings  by  a 
shaking  voice  disgusts  us.  You  must  get  into  the  spirit 
of  the  emotion  by  genuine  sympathy,  careful  paraphrase 
and  vivid  imagination.  Then  under  the  mind's  influence, 
the  whole  body  will  be  in  a  jelly-like  quiver,  and  involun- 
tarily the  voice  will  have  a  delicate  trembling. 

Oh,  Mother,  look,  it's  snowing.  Hurrah,  we'll  play  snow- 
balls, and  make  a  snow  man,  and  go  coasting,  can  we 
mother?  oh,  say  yes  quick! 

Break,  break,  break, 

On  thy  cold  gray  stones,  0  Sea! 
And  I  would  that  my  tongue  could  utter 

The  thoughts  that  arise  in  me. 

0  well  for  the  fisherman's  boy, 
That  he  shouts  with  his  sister  at  play! 

0  well  for  the  sailor  lad, 

That  he  sings  in  his  boat  on  the  bay! 

And  the  stately  ships  go  on 

To  their  haven  under  the  hill; 
But  0  for  the  touch  of  a  yanish'd  hand. 

And  the  sound  of  a  voice  that  is  still! 

Break,   break,  break, 

At  the  foot  of  thy  crags,  0  Sea! 
But  the  tender  grace  of  a  day  that  is  dead 

Will  never  come  back  to  me. 

— Tennyson. 

Mark  the  passages  that  show  Agitated  feeling. 

Mark  also  any  passages  that  show  Genial,  Exalted, 
Stern  or  Awesome  feelings. 

[166] 


THE   CHRISTMAS  DINNER 

The  good  Spirit  led  him  straight  to  Scrooge's  clerk's; 
and  on  the  threshold  of  the  door  the  Spirit  smiled,  and 
stopped  to  bless  Bob  Cratchit's  dwelling  with  the  sprinkl- 
ings of  his  torch. 

Then  up  rose  Mrs.  Cratchit,  Cratchit's  wife,  dressed 
out  but  poorly  in  a  twice  turned  gown,  but  brave  in  rib- 
bons, which  are  cheap  and  make  a  goodly  show  for  six- 
pence; and  she  laid  the  cloth,  assisted  by  Beli'nda  Cratch  it, 
second  of  her  daughters,  also  brave  in  ribbons;  while 
Master  Peter  Cratchit  plunged  a  fork  into  the  saucepan  of 
potatoes.  And  now  two  smaller  Cratchits,  boy  and  girl, 
came  tearing  in,  screamimg  that  outside  the  baker's  they 
had  smelt  the  goose,  alnd  known  it  for  their  own;  and 
basking  in  luxurious  thoughts  of  sage  and  onion,  these 
young  Cratchits  danced  about  the  table. 

"What  has  ever  got  your  precious  father  then?"  said 
Mrs.  Cratchit.  "And  your  brother,  Tiny  Tim!  And  Martha 
warn't  as  late  last  Christmas  Day  by  half-an-hour?" 

"Here's  Martha,  Mother!"  said  a  girl,  appearing  as 
she  spoke. 

"Here's  Martha,  Mother!"  cried  the  two  young  Cratch- 
its. "Hurrah!  There's  such  a  goose,  Martha." 

"Why,  bless  your  heart  alive,  my  dear,  how  late  you 
are!"  said  Mrs.  Cratchit,  kissing  her  a  dozen  times,  and 
taking  off  her  shawl  and  bonnet  for  her  with  officious  zeal. 

"We'd  a  deal  of  work  to  finish  up  last  night,"  replied 
the  girl,  "and  had  to  clear  away  this  morning,  mother!" 

"Well!  Never  mind  so  long  as  you  are  come,"  said 
Mrs.  Cratchit.  "Sit  ye  down  before  the  fire,  my  dear,  and 
have  a  warm,  Lord  bless  ye!" 

"No,  no!  There's  father  coming,"  cried  the  two  young 
Cratchits,  who  were  everywhere  at  once.  "Hide,  Martha, 
hide!" 

"So  Martha  hid  herself,  and  in  came  little  Bob,  the 
father,  with  at  least  three  feet  of  comforter  exclusive  of 
the  fringe,  hanging  down  before  him;  and  his  threadbare 
clothes  darned  up  and  brushed,  to  look  seasonable;  and 
Tiny  Tim  upon  his  shoulder.  Alas  for  Tiny  Tim,  he  bore 
a  little  crutch,  and  had  his  limbs  supported  by  an  iron 
frame! 

"Why,  where's  our  Martha?"  cried  Bob  Cratchit,  look- 
ing round.  "Not  coming  upon  Christmas  Day!" 

Martha  didn't  like  to  see  him  disappointed,  if  it  were 
only  in  joke;  so  she  came  out  prematurely  from  behind 
the  closet  door,  and  ran  into  his  arms,  while  the  two 
young  Cratchits  hustled  Tiny  Tim,  and  bore  him  off  into 
the  wash-house,  that  he  might  hear  the  pudding  singing 
in  the  copper. 

"And  how  did  little  Tim  behave?"  asked  Mrs.  Cratch- 
it. when  Bob  had  hugged  his  daughter  to  his  heart's  con- 
tent. 

[167] 


"As  good  as  gold,"  said  Bob,  "and  better.  Somehow  he 
pots  thoughtful  sitting  by  himself  so  much,  and  thinks  the 
strangest  things  you  ever  heard.  He  told  me,  coming  home, 
that  he  hoped  the  people  saw  him  in  the  church,  because 
he  was  a  cripple,  and  it  might  be  pleasant  to  them  to 
remember  upon  Christmas  Day,  who  made  lame  beggars 
walk,  and  blind  men  see." 

Bob's  voice  was  tremulous  when  he  told  them  this, 
and  trembled  more  when  he  said  that  Tiny  Tim  was 
growing  strong  and  hearty. 

His  active  little  crutch  was  heard  upon  the  floor,  and 
back  came  Tiny  Tim  before  another  word  \vas  spoken, 
escorted  by  his  brother  and  sister  to  his  stool  before  the 
fire;  and  Master  Peter,  and  the  two  ubiquitous  young 
Oratchits  went  to  fetch  the  goose,  with  which  they  soon 
returned  in  high  procession. 

Mrs.  Cratchit  made  the  gravy  (ready  beforehand  in  a 
little  saucepan^  hissing  hot;  Master  Peter  mashed  the  po- 
tatoes with  incredible  vigor;  Miss  Belinda  sweetened  up 
the  apple-sauce;  Martha  dusted  the  hot  plates;  Bob 
took  Tiny  Tim  beside  him  in  a  tiny  corner  at  the  table; 
the  two  young  Cratchits  set  chairs  for  everybody,  not  for- 
getting themselves,  and  crammed  spoons  into  their  mouths, 
lest  they  should  shriek  for  goose  before  their  turn  came 
to  be  helped.  At  last  the  dishes  were  set  on,  and  grace 
was  said.  It  was  succeeded  by  a  breathless  pause,  as 
Mrs.  Cratchit,  looking  slowly  along  the  carving-knife, 
prepared  to  plunge  it  in  the  breast;  but  when  she  did, 
and  when  the  long  expected  gush  of  stuffing  issued  forth, 
one  murmur  of  delight  arose  all  around  the  board,  and 
even  Tiny  Tim,  excited  by  the  t\yo  young  Cratchits,  beat 
on  the  table  with  the  handle  of  his  knife,  and  feebly  cried 
Hurrah! 

There  never  was  such  a  goose.  Bob  said  he  didn't  be- 
lieve there  ever  was  such  a  goose  cooked.  Its  tenderness 
and  flavor,  size  and  cheapness,  were  the  themes  of  uni- 
versal admiration.  Eked  out  by  apple-sauce  and  mashed 
potatoes,  it  was  a  sufficient  dinner  for  the  whole  family; 
indeed,  as  Mrs.  Cratchit  said  with  great  delight  (survey- 
ing one  small  atom  of  the  bone  upon  the  dish),  they  hadn't 
ate  it  all  at  last!  Yet  every  one  had  had  enough,  and  the 
youngest  Cratchits  in  particular,  were  steeped  in  sage  and 
onion  to  the  eyebrows!  But  now  the  plates  being  changed 
by  Miss  Belinda,  Mrs.  Cratchit  left  the  room  alone— too 
nervous  to  bear  witnesses— to  take  the  pudding  up  and 
bring  it  in. 

Suppose  it  should  not  be  done  enough!  Suppose  it 
should  break  in  turning  out!  Suppose  somebody  should 
have  got  over  the  wall  of  the  back-yard,  and  stolen  it, 
while  they  were  merry  with  the  goose— a  supposition  at 
which  the  two  young  Cratchits  became  livid!  All  sorts  of 
horrors  were  supposed. 

[168] 


Hallo!  A  great  deal  of  steam!  The  pudding  was  out 
of  the  copper.  A  smell  like  a  washing-day!  That  was 
the  cloth.  A  smell  like  an  eating-house  and  a  pastry- 
cook's next  door  to  each  other,  with  a  laundress'  next 
door  to  that!  That  was  the  pudding!  In  half  a  minute 
Mrs.  Cratchit  entered — flushed  but  smiling  proudly — with 
the  pudding,  like  a  speckled  cannon-ball  so  hard  and  firm, 
blazing  in  half  of  half  a-quartern  of  ignited  brandy,  and 
bedight  with  Christmas  holly  stuck  into  the  top. 

Oh,  a  wonderful  pudding!  Bob  Gratchit  said,  and 
calmly,  too,  th.at  he  regarded  it  as  the  greatest  success 
achieved  by  Mrs.  Cratchit  since  their  marriage.  Mrs. 
Cratchit  said  that  now  the  weight  was  off  her  mind,  she 
would  confess  she  had  her  doubts  about  the  quantity  of 
flour.  Everybody  had  something  to  say  about  it,  but  no- 
body said  or  thought  it  was  a  small  pudding  for  a  large 
family.  It  would  have  been  flat  heresy  to  do  so.  Any 
Cratchit  would  have  blushed  to  hint  at  such  a  thing. 

At  last  the  dinner  was  all  done,  the  cloth  was  cleared, 
the  hearth  swept,  and  the  fire  made  up.  Apples  and 
oranges  were  put  upon  the  table,  and  a  shovelful  of  chest- 
nuts on  the  fire.  Then  all  the  Cratchit  family  drew 
around  the  hearth. 

"A  merry  Christmas  to  us  all,  my  dears.  God  bless 
us!" 

Which  all  the  family  re-echoed. 

"God  bless  us  every  one!"  said  Tiny  Tim,  the  last  of 
all.  >— Charles  Dickens. 

"Yo-ho,  my  boys!"  said  Fezziwig;  "no  more  work  to- 
night, Christmas  Eve,  Dick!  Christmas,  Ebenezer!  Let's 
have  the  shutters  up  before  a  man  can  say  Jack  Robinson! 
Clear  away,  my  lads,  and  let's  have  lots  of  room  here!" 

Clear  away!  There  was  nothing  they  wouldn't  have 
done,  or  couldn't  have  done,  with  old  Fezziwig  standing  by. 
It  was  done  in  a  minute.  Every  movable  was  packed  off  as 
if  it  were  dismissed  from  public  life  forevermore.  The 
floor  was  swept  and  watered,  lamps  were  trimmed,  fuel 
was  heaped  upon  the  fire,  a-nd  the  warehouse  was  as  snug 
and  warm  and  dry  and  bright  a  ball-room  as  you  could 
desire  to  see  upon  a  winter  night.  In  came  a  fiddler  with 
a  music-book  and  walked  up  to  the  lofty  desk  and  made  an 
orchestra  of  it,  and  tuned  like  fifty  stomach-aches.  In 
came  Mrs.  Fezziwig,  one  vast,  substantial  smile.  In  came  the 
two  Miss  Fezziwigs,  beaming  and  amiable.  In  came  the  six 
young  followers,  whose  hea.rts  they  broke.  In  came  all 
the  young  men  and  women  employed  in  the  business.  In 
came  the  housemaid  with  her  cousin,  the  baker.  In  came 
the  cook  with  her  brother's  particular  friend,  the  milk- 
man. In  they  all  came  anyhow  and  everyhow!  Away  they 
all  went,  twenty  couples  at  once,  hands  half  round  and 

[169] 


hack  again  the  other  way,  up  the  middle  and  down  again, 
round  in  various  stages  of  affectionate  grouping;  old  top 
couple  always  turning  up  at  the  wrong  place,  new  top 
couple  starting  off  again  as  soon  as  they  got  there,  all  top 
couples  at  last  with  not  a  bottom  one  to  help  them. 

When  this  result  was  brought  about  old  Fezziwig,  clap- 
ping his  hands  to  stop  the  dance,  cried  out,  "Well  done!" 
and  the  fiddler  plunged  his  hot  face  into  a  pot  of  porter, 
specially  provided  for  that  purpose.  And  there  were  more 
dances,  and  then  there  were  forfeits,  and  then  there  were 
more  dances,  and  there  was  cake  and  there  was  negus,  and 
there  was  a  great  piece  of  cold  roast,  and  there  was  a  great 
piece  of  cold  boiled,  and  there  were  mince  pies  and 
plenty  of  beer.  But  the  great  effect  of  the  evening  came 
after  the  roast  and  boiled,  when  the  fiddler  struck  up  "Sir 
Roger  de  Coverly!"  Then  old  Fezziwig  stood  out  to  dance 
with  Mrs.  Fezziwig,  top  couple  too  with  a  good  stiff  piece 
of  work  cut  out  for  them,  three  or  four  and  twenty  pairs 
of  partners,  people  who  were  not  to  be  trifled  with,  people 
who  would  dance  and  had  no  notion  of  walking. 

But  if  there  had  been  twice  as  many,  or  four  times  as 
many,  old  Fezziwig  would  have  been  a  match  for  them, 
and  so  would  Mrs.  Fezziwig.  As  for  her,  she  was  worthy 
of  being  his  partner  in  every  sense  of  the  term.  A  posi- 
tive light  appeared  to  issue  from  Fezziwig's  calves,  they 
shone  in  every  part  of  the  dance.  You  couldn't  have  pre- 
dicted at  any  given  moment  where  they  would  have  turned 
up  next,  and  when  old  Fezziwig  and  Mrs.  Fezziwig  had 
been  all  through  the  dance,  advance  and  retire,  turn  your 
partner,  bow  and  curtsey,  corkscrew,  thread  the  needle 
and  back  again  to  your  own  place,  Fezziwig  cut,  cut  so 
deftly  that  he  appeared  to  wink  with  his  legs.  At  eleven 
o'clock  the  domestic  ball  broke  up.  Then  old  Fezziwig  and 
Mrs.  Fezziwig  stood  one  on  either  side  of  the  door,  and 
shaking  hands  with  each  of  their  guests  individually  as 
he  or  she 'went  out,  wished  him  or  her  "A  Merry  Christ- 
mas!" —Charles  Dickens. 


[170] 


LESSON  LII 


Mark  the  kinds  of  feeling  ifo  these  passages. 
Make  them  your  own,  and  read  them  with  alert  re- 
sponsiveness, and  the  power  of  genuineness. 

JOSEPH  MEETS  BENJAMIN 

And  Joseph's  ten  brethren  went  down  to  buy  grain 
from  Egypt.  And  Joseph  was  the  governor  of  the  land. 
And  Joseph  knew  his  brethren,  but  they  knew  not  him. 
And  he  said,  Ye  are  spies,  to  see  the  'nakedness  of  the  land 
ye  are  come.  And  they  said  unto  him,  Nay,  my  lord,  but 
to  buy  food  are  thy  servants  come.  We  are  all  one  man's 
sons;  we  are  true  men,  thy  servants  are  no  spies.  And  he 
said  unto  them,  Nay  but  to  see  the  nakedness  of  the  land 
ye  are  come.  And  they  said,  We  thy  servants  are  twelve 
brethren,  the  sons  of  one  man  in  the  land  of  Canaan;  and 
behold  the  youngest  is  this  day  with  his  father,  and  one 
is  not.  And  Joseph  said,  If  ye  be  true  men  let  one  of  your 
brethren  be  bound  in  the  prison-house;  but  go  ye,  carry 
grain  for  the  famine  of  your  houses;  and  bring  your  young- 
est brother  unto  me;  so  shall  your  words  be  verified  and 
ye  shall  not  die.  And  he  took  Simeon  from  among  them, 
and  bound  him,  and  they  departed  thence. 

And  the  famine  was  sore  in  the  land.  And  it  came  to 
pass,  when  they  had  eaten  up  the  grain  which  they  had 
brought  out  of  Egypt,  their  father  said  unto  them,  Go 
again,  buy  us  a  little  food.  And  Judah  spake  unto  him 
saying,  The  man  did  solemnly  protest  unto  us  saying,  Ye 
shall  not  see  my  face,  except  your  brother  be  with  you.  If 
thou  wilt  send  our  brother  with  us  we  will  go  down  and 
buy  thee  food.  And  their  father  Israel  said,  If  it  be  so, 
take  your  brother,  and  the  Almighty  God  give  you  mercy 
before  the  man.  And  they  took  a  present,  and  double 
money,  and  Benjamin,  and  went  down  to  Egypt. 

And  Joseph  said  to  his  steward,  Make  ready,  for  the 
men  shall  dine  with  me  at  (noon.  And  the  men  were  afraid 
because  they  were  brought  to  Joseph's  house.  And  when 
Joseph  came  home  they  brought  him  the  present,  and 
bowed  themselves  to  him  to  the  earth.  .  And  he  asked 
them  of  their  welfare,  and  said,  Is  your  father  well,  the 
old  man  of  whom  ye  spake?  Is  he  yet  alive?  And  they 
said,  Thy  servant  pur  father  is  well.  And  he  lifted  up  his 
eyes  and  saw  Benjamrn  his  brother,  his  mother's  son,  and 
said,  Is  this  your  youngest  brother,  of  whom  ye  spake 
unto  me?  And  he  said,  God  be  gracious  unto  thee,  my 
son.  And  Joseph  made  haste;  for  his  heart  yearned  over 
his  brother;  and  he  sought  where  to  weep,  and  he  entered 
into  his  chamber  and  wept  there.  —Genesis  42-43. 

[171] 


THE  KINDNESS  OF  BOAZ 

Then  said  Boaz  unto  Ruth,  Hearest  them  not,  my  daugh- 
ter? Go  not  to  glean  in  another  field,  neither  pass  from 
hence,  but  abide  here  fast  by  my  maidens.  Let  thine  eyeo 
be  on  the  field  that  they  do  reap,  and  go  thou  after  them; 
have  I  not  charged  the  young  men  that  they  shall  not 
touch  thee?  and  when  thou  art  athirst,  go  unto  the  ves- 
sels and  drink  of  that  which  the  young  men  have  drawn. 
Then  she  fell  dn  her  face,  and  bowed  herself  to  the 
ground,  and  snid  unto  him,  Why  have  I  found  favor  in 
thy  sight,  that  thou  shouldst  take  knowledge  of  me,  seeing 

I  am  a  foreigner?    And  Boaz  answered  and  said  unto  her, 

II  hath  fully  been  showed  me,  nil  that  thou  hast  done  unto 
thy  mother-in-law  since  the  death   of  thy  husband;   and 
how  thou   hast   left  thy  father  and  thy  mother,  and  the 
land  of  thy  nativity,  and  art  come  unto  a  people  that  thou 
knowest  not  heretofore.     Jehovah  recompense  thy  work. 
a!nd  a  full   reward  be  given  thee  of  Jehovah  the  God  of 
Israel,  under  whose  wine's  thou  art  come  to  take  refuge. 

—Ruth  2. 

There  I  he  wicked  cease  from  troubling; 

And  there  the  weary  are.  at  rest, 
There  the  prisoners  are  at  ease  together; 

They  hear  not  the  voice  of  the  taskmaster. 
The  small  and  great  'are  there; 
And  the  servant  is  free  from  his  master. 

—Job  3:17-19. 

O'Connell  had,  what  so  few  American  speakers  have,  a 
voice  that  sounded  the  gamut.  I  heard  him  once  in  Exeter 
Hall  say,  "Americans,  T  send  my  voice  careering  like  the 
thunderstorm  across  the  Atlantic,  to  tell  South  Carolina 
that  God's  thunderbolts  are  hot,  and  to  remind  the  negro 
that  the  dawn  of  his  redemption  is  drawing  near,1'  and  I 
seemed  to  hear  his  voice  reverberating  and  re-echoing 
back  to  London  from  the  Rocky  Mountains. 

And  then  with  the  slightest  possible  flavor  of  an  Irish 
brogue,  he  would  tell  a  story  that  would  make  all  Exeter 
Hall  laugh,  and  the  next  moment  there  were  tears  in 
his  voice,  like  an  old  song,  and  live  thousand  men  would  be 
in  tears. 

''Oh,  our  manhood's  prime  vigor!     No  spirit  feels  waste, 
Not  a  muscle  is  stopped  in  its  playing  nor  sinew  unbraced. 
Oh,  the  wild  joys  of  living!  the  leaping  from  rock  up  to 

rock. 
The  strong  rending  of  boughs  from  the  fir-tree,  the  cool 

silver  shock 
Of  the  plunge  in  a  pool's  living  water,  the  hunt  of  the 

bear, 
And   the   sultriness   showing  the   lion   is   couched   in  his 

lair. 

[172] 


And   the   meal,   the   rich   dates   yellowed   over   with  gold 

dust    divtae, 
And  the  locust-flesh  steeped  in  the  pitcher,  the  full  draught 

of  wine, 
And  the  sleep  in  the  dried  river-channel  where  bulrushes 

tell 

That  the  water  was  wont  to  go  warbling  so  softly  and  well. 
How  good  is  man's  life,  the  mere  living!  how  lit  to  employ 
All  the  heart  and  the  soul  and  the  senses  for  ever  in 

joy! 

— Browning. 

Make  a  joyful  noise  unto  Jehovah  all  ye  lands. 
Serve  Jehovah  with  gladness: 
Come  before  his  presence  with  singing. 

Know  ye  that  Jehovah,  he  is  God: 

It  is  he  that  hath  made  us,  and  we  are  his; 
We  are  his  people,  and  the  sheep  of  his  pasture. 

Enter  into  his  gates  with  thanksgiving, 
And  into  his  courts  with  praise: 
Give  thanks  unto  him,  and  bless  his  name. 

For  Jehovah  is  good; 

His  loving  kindness  endureth  forever, 
And  his  faithfulness  unto  all  generations. 

—Psalm  100. 

Come  all  ye  jolly  shepherds, 

That  whistle  through  the  glen! 
I'll  tell  ye  o'  a  secret 

That  courtiers  dinna  ken: 
What  is  the  greatest  bliss 

That  the  tongue  o'  man  can  name? 
Tis  to  woo  a  bontiie  lassie 

When  the  kye  come  hame. 

— James  Hogg. 

The  best  he  could  hope  for  was  dismissal.  To  be  allowed 
to  go  out  of  the  office  alone,  disgraced,  branded,— this 
would  b;e  a  mercy  and  forbearance. 

Waiting  in  the  anteroom  until  the  senior  partner  should 
be  ready  for  him,  George  Hanbury  clenched  his  fists  till 
the  palms  bled  under  his  nails.  He  was  ready  to  face  his 
doom  and  take  what  he  had  earned,  if  he  could  have  but 
taken  it  alone.  Since  the  discovery  of  his  defalcations 
had  become  inevitable,  and  during  the  awful  two  days  that 
had  elapsed  since  the  discovery  itself  J»d  taken  place,  he 
had  realized,  blindingly,  the  responsibility  for  the  happi- 
ness of  others  which  depends  upon  every  man.  His  father, 
his  mother,  his  brothers  and  sisters!  This  struck  at 
them  all;  this  was  aimed  at  their  home,  at  the  complete- 
ness of  their  lives  and  the  root  of  their  self-respect  and 
happiness.  His  head  swam  as  the  picture  of  their  misery, 
when  the  news  should  reach  them,  took  shape  in  his 
mind. 

[173] 


Alone  he  could  have  borne  it.  He  had  himself  in  a 
tight  hold.  Two  days  before  the  manager  had  sent  for 
him,  and  he  found  him  with  certain  books  open  on  his 
desk. 

"Can  you  explain  this?"  the  manager  had  asked,  point- 
ing to  a  page. 

Hanbury  looked  and  knew  at  once  that  the  blow  had 
fallen. 

"No,  sir,1'  he  answered,  quietly. 

"Nothing  to  say?"  queried  the  manager,  closing  the 
volume. 

"Nothing  at  all,"  was  the  quiet  answer. 

"Very  well,"  said  the  other.  "Mr.  Burns  will  have  to 
hear  of  this.  Go  back  to  your  work." 

Then  elapsed  two  days  of  terrible  punishment.  His 
fellows  among  the  clerks  knew  nothing,  and  it  cost  a 
strong  effort  to  keep  a  calm  face  in  their  midst  and  to  es- 
cape remark.  He  was  awaiting  sentence  from  Mr.  Burns, 
who  came  down  to  the  office  only  occasionally,  and  whose 
remoteness  from  the  daily  life  of  the  business  seemed  to 
Hanbury  to  add  another  terror  to  his  position. 

The  door  of  the  inner  office  clicked,  and  the  manager 
came  out.  Hanbury  rose  to  his  feet,  biting  his  lip.  The 
manager  looked  at  him  gravely. 

"Go  in,"  he  said. 

Hanbury  entered.  Old  William  Burns  was  sitting  at 
a  table.  He  was  an  old  man,  white-haired,  with  a  chm 
and  check  hidden  in  a  fluff  of  white  beard.  Keen  gray 
eyes  looked  out  from  under  heavy  brows;  his  face  bespoke 
strength  and  resolution,  but  there  was  nothing  of  harsh- 
ness in  it.  It  was  grave  now,  and  perhaps  sad;  but  not 
hard  nor  vindictive. 

They  looked  at  one  another  in  silence  for  a  moment, 
the  strong  old  man  who  had  succeeded,  and  the  young  man 
who  had  failed. 

"I  have  beeh  hearing  details  of  an  embezzlement  which 
you  have  committed,"  said  the  old  man,  slowly.  There 
was  a  country  burr  in  his  voice;  Hanbury  noted  it  with 
an  odd  sense  of  having  expected  it.  "I  understand  you 
make  no  defence." 

Hanbury  found  his  voice  with  a»n  effort.  "None,  sir," 
he  answered. 

"And  you  know  what  you  have  incurred  by  this  crime ?*' 

Hanbury  nodded,  gulping. 

"Very  well,"  sai<%Lhe  senior  partner,  rising  and  speak- 
ing very  gently,  "if  you  know  that  we  will  not  say  anything 
more  about  it.  I  shall  not  send  you  to  prison." 

He  waited  for  Hanbury  to  speak,  but  the  young  man 
could  say  nothing. 

"If  I  permit  you  to  return  to  your  work,  and  to  gradu- 
ally refund  the  money  you  have  misappropriated,  shall  I 
be  safe?" 

[174] 


The  clerk  started  and  looked  up.  Old  William  Burns 
was  watching  him  wistfully.  "Sir," — Stammered  the  young 
man,— "I  promise — I  swear —  His  voice  failed  him,  and 
he  struggled  with  rising  emotion. 

"Very  well,  we  will  consider  that  arranged.  No  word 
of  it  will  be  said  again  by  any  one." 

He  held  out  his  hand  arid  Hanbury  grasped  it  feverishly. 

"You  are  the  second  man  who  fell  and  was  pardoned 
in  this  business,  Mr.  Hanbury,"  said  the  old  man  in  a  low 
tone.  "I  was  the  first.  What  you  have  done,  I  did.  The 
mercy  you  have  received,  I  received.  God  help  us  all." 

They  shook  hands  upon  it,  the  two  men  who  had  been 
spared.  — The  British  Weekly. 


[175] 


LESSON  LIII 


Do  you  notice  what  a  large  proportion  of  human  speech 
is  more  or  less  saturated  with  emotion?  Almost  every 
utterance  that  is  worth  while  is  at  least  tinged  with  some 
feeling.  The  following  passages  are  not  taken  from  great 
orations  or  dramas,  where  we  expect  expression  of  strong 
emotion;  they  are  bits  from  comman  human  experience, 
taken  mostly  from  the  newspapers.  Analyze,  paraphrase 
and  read  them. 

Did  you  ever  see  a  dandy  fisherman?  He  has  the  cor- 
rect suit  on,  his  pole  is  a  beauty  from  Conroy's,  his  line 
is  of  the  best  silk,  his  book  is  full  of  artificial  flies, — 
plenty  of  artificial  flies, — his  fish-basket  hangs  behind 
him;  and  he  is  a  fishermaki.  May  be.  Let  us  go  to  the 
stream.  Standing  with  a  knowing  air,  he  throws  his  fly; 
but  the  lish  do  not  rise  at  it;  and  he  throws  again,  and 
again,  and  they  do  not  rise.  And  all  the  while,  a  barefooted, 
coatless  boy  on  the  other  side  of  the  brook  is  catching 
fish  as  fast  as  he  can  pull  them  in.  He  has  Just  a  rough 
hook  on  a  bit  of  string,  and  a  worm  for  bait,  but  he  gets 
the  lish. — Henry  Ward  Beecher. 

George  G.  Lake,  the  benevolent  merchant  of  New  York, 
used  to  be  an  errand-boy  of  the  old-fashioned  kind,  one  who 
received  two  dollars  a  week  wages,  slept  under  the  counter 
of  the  store,  and  lived  chiefly  on  crackers  and  cheese.  But 
he  was  a  good  boy,  attended  to  business,  and  made  friends. 
In  a  year  or  two  he  obtained  a  better  place,  in  a  better 
store,  where  he  advanced  rapidly  from  one  post  to  an- 
other until  at  nineteen  he  was  placed  in  charge  of  the 
silk  department. 

Salaries  at  that  period  were  so  small,  that  he  thought 
himself  lucky  in  getting  four  hundred  dollars  a  year,  and 
he  eingaged  to  remain  for  four  years  in  the  service  of  the 
firm  at  that  rate  of  wages. 

As  head  of  the  silk  counters  he  had  frequently  to  visit 
a  great  importing  house  to  buy  silks  for  his  own  firm,  and 
there  he  attracted  notice  by  his  excellent  taste  in  selecting 
silks,  and  his  sound  judgment  as  to  what  patterns  would 
be  likely  to  please  customers. 

One  day  he  was  asked  to  step  into  the  counting-room 
of  the  importing  house,  where  one  of  the  partners  invited 
him  to  enter  their  service  at  a  thousand  dollars  the  first 
year,  two  thousand  the  second,  and  three  thousand  after- 
wards. The  young  man  replied  that  he  had  just  made  a 

[176] 


contract  with  his  employers  for  four  years  at  eight  dollars 
a  week. 

"That  contract  was  only  verbal,  I  suppose,"  said  the 
merchant. 

"I  don't  break  contracts,"  replied  the  clerk,  "whether 
verbal  or  not." 

So  he  went  back  to  his  silks  in  the  old  store,  and  to  his 
eight  dollars  a  week.  He  served  out  his  four  years  faith- 
fully. At  the  end  of  the  period  he  had  made  himself  in- 
dispensable to  his  employers,  who  offered  him  ten  thous- 
and dollars  a  year  or  a  partnership.  He  chose  the  salary, 
and,  after  some  years,  entered  the  firm,  of  which  in  due 
time,  by  the  retirement  of  his  partners,  he  became  the  head. 

Notice  how  many  facts  are  presented  in  these  dozen 
lines,  yet  these  facts  would  be  unimportant  if  the  lines 
\\ere  not  filled  with  deep  feeling. 

MEETING  AT  NIGHT 

The  gray  sea  and  the  long  black  land; 

And  the  yellow  half-moon,  large  and  low; 
And  the  startled  little  waves  that  leap 
In  fiery  ringlets  from  their  sleep, 

As  I  gain  the  cove  with  pushing  prow, 

And  quench  its  speed  in  the  slushy  sand. 

Then  a  mile  of  warm,  sea-scented  beach; 

Three  fields  to  cross  till  a  farm  appears; 
A  tap  at  the  pane,  the  quick,  sharp  scratch 
And  blue  spurt  of  a  lighted  match, 

And  a  voice  less  loud,  thro'  its  joys  and  fears, 

Than  the  two  hearts  beating  each  to  each! 

— Browning. 

Thirty  years  ago,  a  barefooted  ragged  urchin  presented 
himself  before  the  desk  of  the  principal  partner  of  a  firm 
in  Glasgow  and  asked  for  work  as  errand  boy. 

"There's  a  deal  o'  rinning  to  be  dune,"  said  the  man. 
"Your  first  qualification  wud  be  a  pair  of  shoon."  The 
boy,  with  a  grave  nod,  disappeared.  He  lived  by  doing  odd 
jobs  in  the  market,  and  slept  under  one  of  the  stalls.  Two 
months  passed  before  he  had  saved  enough  money  to  buy 
the  shoes.  Then  he  presented  himself  before  Mr.  Blank 
one  morning  and  held  out  a  package. 

"I  hae  the  shoon,"  he  said  quickly. 

"Oh,"  said  the  employer,  with  difficulty  recalling  the 
circumstances.  "You  want  a  place?  Not  in  those  rags,  my 
lad;  you  would  disgrace  the  house." 

The  boy  hesitated  a  moment,  and  then  went  out  with- 
out a  word.  Six  months  passed  before  he  returned,  de- 
cently clothed  in  coarse  but  new  garments.  Mr.  Blank's  in- 
terest was  aroused.  For  the  first  time  he  looked  at  the  boy 

[177] 


attentively.  His  thin,  bloodless  face  showed  that  he  had 
stinted  himself  of  food  for  months  in  order  to  buy  these 
clothes.  The  manufacturer  now  questioned  the  boy  closely, 
and  found,  to  his  regret,  that  he  could  neither  read  nor 
write. 

"It  is  necessary  that  you  should  do  both  before  we 
could  employ  you  to  carry  packages,1'  he  said.  "We  have 
no  place  for  you." 

The  lad's  face  grew  paler,  but  without  a  word  of  com- 
plaint he  disappeared.  He  now  went  fifteen  miles  into  the 
country,  and  found  work  in  stables  near  to  a  night-school. 
At  the  end  of  a  year  he  again  presented  himself. 

"I  can  read  and  write,"  he  said  briefly. 

"I  gave  him  the  place,"  the  employer  said,  "with  the 
conviction  that  in  process  of  time  he  would  take  mine  if 
he  made  up  his  mind  to  do  it.  Men  rise  slowly  in  Scotch 
business  houses,  but  he  is  now  our  chief  foreman." 

"Oh,  yes,  I  have  all  kinds  of  tenants,"  said  a  kind-faced 
old  gentleman;  "but  the  one  I  like  the  best  is  a  child  not 
more  than  ten  years  of  age.  A  few  years  ago  I  got  a 
chance  to  buy  a  piece  of  land  over  on  the  West  Side,  and 
did  so.  1  noticed  that  there  was  an  old  coop  of  a  house  on 
it,  but  paid  no  attention  to  it.  After  awhile  a  man  came 
to  me  and  wanted  to  know  if  I  would  rent  it  to  him. 

'  'What  do  you  want  it  for?'  said  I. 

'  'To  live  in,"  he  replied.   • 

'  'Well,'  I  said  'you  can  have  it.  Pay  me  what  you 
think  it  is  worth  to  you.' 

"The  first  month  he  brought  two  dollars,  and  the 
second  month  a  little  boy,  who  said  he  was  the  man's 
SGH,  came  with  three  dollars.  After  that  I  saw  the  man 
once  in  a  while,  but  in  the  course  of  time  the  boy  paid  the 
rent  regularly,  sometimes  two  dollars  and  sometimes  three 
dollars.  One  day  I  asked  the  boy  what  had  become  of  his 
father. 

"  'He's  dead,  sir,1  was  the  reply. 

'"Is  that  so?'  said  I.    'How  long  since?1 

"  'More'n  a  year,'  he  answered. 

"I  took  his  money,  but  I  made  up  my  mind  that  I  would 
go  over  and  investigate,  and  the  next  day  I  drove  over 
there.    The  old  shed  looked  quite  decent.    I  knocked  at  the 
door,  and  a  little  girl  let  me  in. 
;'  'Where  is  your  mother?'  said  I. 

'  'We  don't  know,  sir.  She  went  away  after  my  father 
died,  and  we've  never  seen  her  since.' 

"Just  then  a  little  girl  about  three  years  old  came  in,  and 
I  learned  that  these  three  children  had  been  keeping  house 
together  for  a  year  and  a  half,  the  boy  supporting  his 
two  little  sisters  by  blacking  boots  and  selling  newspapers, 
and  the  elder  girl  managing  the  house  and  taking  care  of 
the  baby. 

[178] 


"The  next  time  the  boy  came  with  the  rent  I  said, — • 
'"My  boy,  you  are  a  little  mah!    You  keep  right  on  as 
you  have  begun,  and  you  will  never  be  sorry.    Keep  your 
little  sisters  together,  and  never  leave  them.    Now  look  at 
this.' 

"I  showed  him  a  ledger  in  which  I  had  entered  up  all 
the  money  that  he  had  paid  me  for  rent,  and  I  told  him  it 
was  all  his  with  interest.  'You  keep  right  on.'  says  I, 
'and  I'll  be  your  banker,  and  when  this  amounts  to  a  little 
more  I'll  see  that  you  get  a  house  somewhere  of  your 
own.'  That's  the  kind  of  tenant  to  have." — Chicago  Herald. 

An  ocean  steamer  was  approching  the  Canadian  coast, 
dense  fogs  had  prevailed  for  three  or  four  days.  It  was 
moving  at  reduced  speed,  and  whistling  frequently,  when 
suddenly,  in  the  early  morning,  the  lookout  heard 
through  the  fog  a  warning  cry  or  shout  just  ahead.  Peer- 
ing more  intensely  into  the  gloom,  the  keen-eyed  captain 
saw,  not  far  from  the  steamer's  bow  a  little  fisher's  boat, 
with  two  men  trying  to  attract  his  attention.  Hearing 
the  constant  whistles  those  men  in  their  boat  had  pushed 
out  from  the  rocky  shore  risking  their  lives  to  warn  the 
ship.  But  almost  at  the  moment  that  the  boat  was  dis- 
covered, the  captain  saw  looming  up  through  the  fog  just 
before  him  a  granite  cliff  or  wall  several  hundred  feet 
high,  toward  which  the  steamer  in  deep  water  was  press- 
ing to  instant  destruction.  His  only  safety,  as  he  saw,  was 
in  instantly  putting  hard  down  his  helm.  But  to  do  that 
wTould  drive  the  great  steamer  over  the  little  boat,  with 
the  two  men  who  were  striving  to  save  us. 

"There  was  no  alternative,"  said  the  noble  captain.  "It 
was  my  only  wTay  to  save  the  hundreds  of  passengers  en- 
trusted to  my  care.  If  I  could  only  have  died  for  those 
brave  men,  how  gladly  would  I  have  done  it,  but  I  had  no 
such  choice." 

The  helm  wras  put  hard  down.  The  steamer  with  all 
its  passengers  was  saved.  But  the  two  men  who  had 
wrought  this  deliverance  went  down  in  their  flsher's-boaf. 
They  saved  others, — themselves  they  could  not  save. 

— Herman  Livingstone. 

Note  how  much  discrimination  there  is  in  this  poem;  yet 
it  is  of  course,  saturated  with  emotion.  What  is  the  pre- 
vailing emotion?  What  sort  of  man  is  the  Duke?  What 
was  his  accusation  against  the  Duchess?  Was  the  Duchess 
lovable?  Did  the  Duke  think  so?  What  feeling  did  he 
have? 

MY    LAST    DUCHESS 

That's  my  last  Duchess  painted  on  the  wall, 
Looking  as  if  she  were  alive.    I  call 
That  piece  a  wonder,  now:  Fra  Pandolf's  hands 
Worked  busily  a  day,  and  there  she  stands. 

[179] 


Will  't  please  you  sit  and  look  at  her?  I  said 

"Fra  Pandolf"  by  design,  for  never  read 

SI  rangers  like  you  that  pictured  countenance, 

The  depth  and  passion  of  its  earnest  glance, 

But  to  myself  they  turned  (since  none  puts  by 

The  curtain  I  have  drawn  for  you,  but  I) 

And  seemed  as  they  would  ask  me,  if  <hev  durst, 

How  such  a  glance  came  there;  so,  not  the  lirst 

Are  you  to  turn  and  ask  thus.    Sir,  't  was  not 

Her  husband's  presence  only,  called  that  spot 

Of  joy  into  the  Duchess'  cheek:  perhaps 

Fra  Pandolf  chanced  to  say,  "Her  mantle  laps 

Over  my  lady's  wrist  too  much,"  or  "Paint 

Must  never  hope  to  reproduce  the  faint 

Half-flush  that  dies  along  her  throat":  such  stuff 

Was  courtesy,  she  thought,  and  cause  enough 

For  calling  up  that  spot  of  joy.    She  had 

A  heart — how7  shall  I  say? — too  soon  made  glad, 

Too  easily  impressed:  she  liked  whate'er 

She  looked  on,  and  her  looks  went  everywhere. 

Sir,  't  was  all  one!  My  favor  at  her  breast, 

The  dropping  of  the  daylight  in  the  West, 

I  he  hough  of  cherries  some  officious  fool 

Broke  in  the  orchard  for  her,  the  white  mule 

She  rode  with  round  the  terrace — all  and  each 

Would  draw  from  her  alike  the  approving  speech, 

Or  blush,  at  least.    She  thanked  men, — good!  but  thanked 

Somehow — T  know  not  how — as  if  she  ranked 

My  gift  of  a  nine  hundred-years-old-name 

With  anybody's  gift.    Who'd    stood  to  blame 

This  sort  of  trifling?    Even  had  you  skill 

In  speech— (which  I  have  not)—  to  make  your  will 

Quite  clear  to  such  an  one,  and  say,  "Just  this 

Or  that  in  you  disgusts  me;  here  you  miss, 

Or  there  exceed  the  mark"*— and  if  she  let 

Herself  be  lessoned  so,  nor  plainly  set 

Her  wits  to  yours,  forsooth,  and  made  excuse, 

—E'en  then  would  be  some  stooping;  and  I  choose 

Never  to  stoop.    Oh  sir,  she  smiled,  no  doubt, 

Whene'er  I  passed  her;  but  who  passed  without 

Much  the  sanie  smile?    This  grew;  I  gave  commands; 

Then  all  smiles  stopped  together.    There  she  stands 

As  if  alive.     Will  't  please  you  rise?     We'll  meet 

The  company  below,  then.    I  repeat, 

The  Count  your  master's  known  munificence 

Is  ample  warrant  that  no  just  pretence 

Of  mine  for  dowry  will  be  disallowed; 

Though  his  fair  daughter's  self,  as  I  avowed 

At  starting,  is  my  object.     Nay,  we'll  go 

Together  down,  sir.     Notice  Neptune,  though, 

Taming  a  sea-horse,  thought  a  rarity, 

WThich  Glaus  of  Innsbruck  cast  in  bronze  for  me! 

— Brownings 
[180] 


LESSON  LIV 


We  class  as  volition  all  passages  and  utterances  in 
which  the  speaker  impresses  his  will  upon  the  hearers, 
and  tries  to  cdntrol  or  modify  or  influence  their  action. 

The  will  acts  in  different  ways,  it  is  sometimes  quick, 
sometimes  slow,  sometimes  impulsive,  sometimes  firm, 
sometimes  as  violent  as  a  volcano,  sometimes  as  irresistible 
as  a  mighty  river.  When  the  speaker  has  a  definite  purpose 
he  must  control  the  expression  of  his  volition  or  he  will 
riot  accomplish  .his  purpose.  Since  volition  manifests  itself 
in  these  various  ways  it  will  be  helpful  to  study  it  in  five 
sections:  passages  that  are  (1)  Impulsive,  (2)  Insistent, 
(3)  Uplifting,  (4)  Majestic  and  (5)  Tumultuous. 

We  have  seen  that  Presentation  is  expressed  through 
time,  in  rate  and  grouping;  Discrimination  is  shown  by 
change  of  Pitch,  in  inflection;  the  different  Emotions  use 
different  qualities  of  tone  (such  as  pure  tone,  full  tone, 
hard  tone,  breathy  tone,  etc.,)  Volition  is  expressed  by 
pressure  of  tone,  or  stress. 

Note.  The  word  "stress"  is  often  carelessly  used  when 
a  downward  inflection  is  meant,  like  assertion  or  momen- 
tary completeness.  This  is,  of  course,  a  wrong  use  of  the 
word. 

We  may  class  as  Impulsive  volition  all  passages  that 
express  the  action  of  the  will  with  promptness.  This 
may  be  a  sudden  shock,  an  abrupt  attack,  or  an  impulsive 
command,  or  it  may  be  merely  quick  decision  without  any 
loss  of  self-control.  The  tone  of  impulsive  volition  is 
always  prompt,  but  not  necessarily  loud. 

You  may  go  at  once. 

Hence!  home,  you  idle  creatures,  get  you  home! 

Our  brethren  are  already  in  the  Held!  Why  stand 
we  here  idle? 

My  son,  if  sinners  entice  thee, 
Consent  thou  not. 

Down   with    these   tyrants   of   England!     we   never   have 

sworn  them  allegiance! 
Death  to  these  foreign  soldiers,  who  seize  on  our  homes 

and  our  harvests! 

[181] 


The  Boston  Herald  says  that  when  Matthew  Arnold  was 
in  Boston  he  was  greatly  interested  in  something  he  saw 
in  the  reading  room  of  the  Public  Library.  He  came  in  one 
day  and  found  a  little  barefooted  newsboy  sitting  in  one 
of  the  best  chairs  enjoying  himself  as  if  he  were  at  home. 

The  essayist  was  astounded.  "Do  you  allow  barefooted 
boys  in  this  reading  room?"  he  asked.  "You  would  never 
see  such  a  sight  as  that  in  England.  I  do  not  believe  there 
is  a  reading  room  in  all  Europe  in  which  that  boy,  dressed 
as  shabbilv  as  he  is,  would  be  permitted  to  enter." 

Then  Mr.  Arnold  went  over  to  the  boy,  spoke  to  him, 
and  found  that  he  was  readme:  the  "Life  of  Washington," 
and  that  he  had  decidedly  anti-British  opinions  and  was, 
for  his  age,  remarkably  well  informed. 

Mr.  Arnold  remained  talking  with  the  youngster  for 
some  time,  and  as  he  came  back  to  our  desk  the  English- 
man said:  "I  do  not  think  I  have  bee,n  so  impressed  with 
anything  else  that  I  have  seen  since  arriving  in  this  coun- 
try as  T  am  now  with  meeting  this  barefooted  boy  in  this 
reading  room.  \Vhat  a  tribute  to  democratic  institutions 
it  is  to  say  that,  instead  of  sending  that  boy  out  to  wander 
alone  in  the  streets,  they  permit  him  to  come  in  here  and 
excite  his  youthful  imagination  by  reading  such  books  as 
the  'Life  of  Washington1;  The  reading  of  that  one  book 
may  change  the  whole  course  of  that  boy's  life,  aiind 
may  be  the  means  of  making  him  a  useful,  honorable, 
worthy  citizen  of  this  great  country.  Tt  is,  I  tell  you,  a 
sight  that  impresses  a  European  not  accustomed  to  your 
democratic  ways." 

Tell  which  kind  of  Impulsiveness  is  expressed  in  each  of 
these  examples. 

Find  examples  of  Impulsive  volition  in  previous  pages. 

The  second  class  of  volition,  which  has  been  well  called 
Insistence,  shows  more  self  control  than  the  Impulsive. 
The  insistent  will  is  masterful,  and  controls  not  only  self, 
but  others;  it  speaks  with  firmness  and  determination,  it 
insists  with  a  steady  and  continuous  pressure  until  it  over- 
comes the  opposition. 

This  determination  is  less  abrupt  and  usually  quieter 
than  the  Impulsive  volition.  It  grows  stronger  towards 
the  end. 

Has  the  gentleman  done?  Has  he  completely  done?  He 
wras  unparliamentary  from  the  beginning  to  the  end  of  his 
speech.  There  was  scarce  a  word  he  uttered  that  was  not 
a  violation  of  the  privileges  of  the  house.  But  I  did  not 
call  him  to  order,— why?  because  the  limited  talents  of 
some  men  render  it  impossible  for  them  to  be  severe  with- 

[182] 


out  being  unparliamentary.  But  before  I  sit  down  I  shall 
show  him  how  to  be  severe  and  parliamentary  at  the 
same  time. — Grattan. 

On  the  occasion  corresponding  to  this  four  years  ago, 
all  thoughts  were  anxiously  directed  to  an  impending  civil 
war.  All  dreaded  it,  all  sought  to  avoid  it.  While  the 
inaugural  address  was  being  delivered  from  this  place, 
devoted  altogether  to  saving  the  Union  without  war, 
insurgent  agents  were  in  the  city,  seeking  to  destroy  it 
with  war— seeking  to  dissolve  the  Union  and  divide  the 
effects  by  negotiation.  Both  parties  deprecated  war,  but 
one  of  them  would  make  war  rather  than  let  the  nation 
survive,  and  the  other  would  accept  war  rather  than  let 
it  perish,  and  the  war  came. 

— From  Lincoln's  Second  Inaugural  Address. 

If  influenced  by  local  pride,  or  gangrened  by  state 
jealously,  I  get  up  here  to  abate  a  tithe  of  a  hair  from  his 
just  character  and  just  fame— may  my  tongue  cleave  to 
the  roof  of  my  mouth. 

Ah,  gentlemen,  that  was  a  dreadful  mistake. 

It  must  be  confessed,  it  will  be  confessed;  there  is  no 
refuge  from  confession  but  in  suicide,  and  suicide  is  con- 
fession. 

What  I  have  written,  I  have  written. 

Go  back  a  hundred  years  to  Glasgow  and  watch  the 
glover's  apprentice  at  night,  too  poor  to  buy  a  candle, 
standing  reading  in  the  street  by  the  light  in  a,  shop 
window.  Out  goes  the  light.  He  moves  to  another  window. 
Out  goes  the  light.  He  moves  to  another  window.  He  is 
driven  from  window  to  window  until  all  the  shopkeepers 
are  in  bed.  Then  he  climbs  a  lamp-post,  holding  on  with 
one  hand  while  he  grasps  his  book  with  the  other.  That 
boy  becomes  the  greatest  scholar  in  Scotland. 

Find  passages  of  Insistent  Volition  in  the  selection  from 
William  MacLeod  Raine,  (page  163) 


[183] 


LESSON  LV 


In  Exalted  feeling  the  speaker  expresses  his  own  ad- 
miration or  enthusiasm.  He  would  express  this  emotion  of 
his  if  he  were  alone,  where  nobody  could  hear  him,  as  in 

Oh,  to  he  in  England 
Now  that  April's  there! 

This  is  emotion,  the  spontaneous  and  enthusiastic  ex- 
pression of  his  own  glad  heart.  But  the  Volition  that 
corresponds  to  this  exalted  feeling,  and  is  indeed  moved 
by  exalted  feeling,  seeks  to  stir  the  hearers  to  the  same 
noble  emotion,  and  uplifts  them  to  the  point  of  doing 
worthy  deeds. 

Exalted  emotion  merely  expresses  one's  own  feeling, 
while  Uplifting  volition  seeks  in  addition  to  influence 
somebody  else.  Uplifting  volition  could  not  exist  without 
exalted  emotion,  but  exalted  emotion  can  exist  without 
any  volition. 

When  the  speaker  is  stirred  \vith  noble  feeling,  and  by 
buoyant,  full,  glad  pressure  urges  the  hearers  to  admire,  or 
take  courage,  or  do  something  great  and  good,  that  is  up- 
lifting Volition.  By  the  pressure  of  his  will  kindled  by 
his  strong  feeling  he  tries  to  uplift  the  hearers. 

Uplifting  Volition  expresses  itself  in  the  deep,  rich  en- 
larged tone  of  exalted  feeling  with  the  addition  of  an  ex- 
panding pressure  which  causes  a  swell  in  the  most  prom- 
inent word,  phrase  or  clause. 

The  bearing  will  be  animated,  the  head  lifted,  the  ges- 
ticulation large  and  strong. 

Caution:  If  you  have  not  by  sympathetic  imagination 
aroused  your  own  emotion,  and  animated  your  bearing, 
pressure  will  make  the  tone  of  your  voice  hard.  By 
thorough  paraphrase  and  vivid  imagination  you  can  in- 
duce genuine  emotion.  The  chest  will  then  expand  and  the 
voice,  even  with  pressure,  can  remain  resonant,  full,  and 
rich. 

1.  Point  out  the  volition  in  each  of  these  examples. 

2.  Paraphrase  it  so  as  to  make  anyone  else  recognize  it. 

3.  Read  each  aloud. 

[184] 


Napoleon  shouted  to  him:  "Beat  a  retreat.1'  The  boy 
did  not  stir.  "Gamin,  beat  a  retreat."  The  hoy  stopped, 
grasped  his  drumsticks,  and  said;  "I  do  not  know  how  to 
beat  a  retreat.  Desaix  never  taught  me  that.  But  I  can 
beat  a  charge.  Oh!  I  can  beat  a  charge  that  would  make 
the  dead  fall  into  line.  I  beat  that  charge  at  the  Pyramids; 
I  beat  that  charge  at  Mt.  Tabor;  I  beat  it  again  at  the 
bridge  of  Lodi.  May  I  beat  it  here?" 

Thou,  too,  sail  on,  0  ship  of  State! 
Sail  on,  0  Union,  strong  and  great! 
Humanity,   with   all   its   fears 
With  all  its  hopes  of  future  years, 
Is  hanging  breathless  on  thy  fate! 

— Longfellow. 

For  this  cause  I  bmv  my  knees  unto  the  Father,  for 
whom  every  fatherhood  in  heaven  and  on  earth  is  named, 
that  he  would  grant  you,  according  to  the  riches  of  his 
glory,  that  ye  may  be  strengethened  with  power  through 
his  Spirit  in  the  inward  man;  that  Christ  may  dwell  in 
your  hearts  through  faith;  to  the  end  that  ye,  being  rooted 
and  grounded  in  love,  may  be  strong  to  apprehend  with  all 
the  saints  what  is  the  breadth  and  length  and  height  and 
depth,  and  to  know  the  love  of  Christ  which  passeth 
knowledge,  that  ye  may  be  filled  unto  all  the  fulness  of  God. 

— Ephesians  3:14-19. 

Three  millions  of  people  armed  in  the  holy  cause  of 
liberty,  and  in  such  a  country  as  that  which  we  possess, 
are  invincible  by  any  force  which  our  enemy  can  send 
against  us. 

A  WELCOME   TO   ALEXANDRA 

Sea  king's  daughter  from  over  the  sea, 

Alexandra! 

Saxon  and  Norman  and  Dane  are  we, 

But  all  of  us  Danes  in  our  welcome  of  thee, 

Alexandra! 

Welcome  her,  thunders  of  fort  and  of  fleet! 

Welcome  her,  thundering  cheers  of  the  street! 

Welcome  her,  all  things  youthful  and  sweet, 

Scatter  the  blossoms  under  her  feet! 

Break,  happy  land,  into  earlier  flowers! 

Make  music,  0  bird,  in  the  new-budded  bowers! 

Blazon  your  mottoes  of  blessing  and  prayer! 

Welcome  her,  welcome  her,  all  that  is  ours! 

Warble,  0  bugle,  and  trumpet  blare! 

Flags,  flutter  out  upon  turrets  and  towers! 

Flames,  on  the  windy  headland  flare! 

Utter  your  jubilee,  steeple  and  spire! 

Clash,  ye  bells,  in  the  merry  March  air! 

Flash,  ye  cities,  in  rivers  of  fire! 
[185] 


Rush  to  the  roof,  sudden  rocket  and  higher 

Melt  into  stars  for  the  land's  desire! 

Roll  and  rejoice,  jubilant  voice, 

Roll  as  a  ground  swell  dashed  on  the  strand, 

Roar  as  the  sea  when  he  welcomes  the  land, 

And  welcome  her,  welcome  the  land's  desire, 

The  sea  king's  daughter  as  happy  as  fair, 

Blissful  bride  of  a  blissful  heir, 

Bride  of  the  heir  of  the  kings  of  the  sea — 

0  joy  to  the  people,  and  joy  to  the  throne, 

Come  to  us,  love  us,  and  make  us  your  own; 

For  Saxon  or  Dane  or  Norman  we, 

Teuton  or  Celt  or  whatever  we  be, 

We  are  each  all  Dane  in  our  welcome  of  thee, 

Alexandra! 
—Tennyson. 

Alexandra  was  daughter  of  the  king  of  Denmark,  and 
was  coming  to  England  as  the  bride  of  King  Edward  VII. 


[186] 


LESSON  LVI 


When  the  speaker  is  stirred  by  exalted  feeling  and  his 
purpose  is  not  to  arouse  and  uplift  the  hearers  to  some 
noble  action,  but  rather  to  sweep  away  every  obstacle  by 
the  irresistible  momentum  of  his  resolute  will,  we  have  an 
example  of  a  powerful  and  sustained  force  of  will  moving 
with  tremendous  energy.  This  we  may  call  Majestic  Vo- 
lition. It  has  breadth,  grandeur,  steadiness;  it  has  the 
magnificence  of  strength  and  the  smoothness  of  invincible 
power.  Such  volition  occurs  only  as  the  culmination  of 
deep  and  prolonged  emotion;  like  iron  melting  white-hot 
and  pouring  out  like  a  tide  of  lire.  It  can  scarcely  be  given 
in  short  passages. 

This  type  of  volition  is  larger,  grander,  more  stupen- 
dous than  uplifting  volition,  and  is  expressed  by  full 
resonant  tones,  giving  largeness  as  well  as  loudness,  ex- 
panded by  continuous  and  strong  pressure.  Body,  in- 
tellect, emotion,  will  all  swell  to  their  full  size,  and  then 
the  voice  sweeps  irresistibly  onward  in  majestic  tones.  This 
cannot  be  imitated  in  cold  blood,  or  it  will  become  cheap 
and  shallow  rant. 

And  I  heard  as  it  were  the  voice  of  a  great  multitude, 
and  as  the  voice  of  many  waters,  and  as  the  voice  of 
mighty  thunderings,  saying,  Hallelujah:  for  the  Lord  God, 
the  Omnipotent  reigneth. — Revelations  19:6. 

You  remember  the  story  that  Russell  Lowell  tells  of 
Webster  when  we  in  Massachusetts  were  about  to  break 
up  the  Whig  party.  Webster  came  home  to  Faneuil  Hall 
to  protest,  and  four  thousand  Whigs  came  out  to  meet 
him.  He  lifted  up  his  majestic  presence  before  that  sea 
of  human  faces,  his  brow  charged  with  thunder  and  said, 
"Gentlemen,  I  am  a  Whig;  a  Massachusetts  Whig;  a  Rev- 
olutionary Whig;  a  Constitutional  Whig;  a  Faneuil  Hall 
Whig;  and  if  you  break  up  the  Whig  party  where  am  I  to 
go?"  And  says  Lowell,  "We  all  held  our  breath,  thinking 
where  he  could  go." 

"When  my  eyes  shall  be  turned"  etc.    (Page  76). 

Brethren,  I  count  not  myself  yet  to  have  laid  hold: 
but  one  thing  I  do,  forgetting  the  things  which  are  be- 
hind, and  stretching  forward  to  the  things  which  are 

[187] 


before,  1  press  on  toward  the  goal  unto  the  prize  of  the 
high  calling  of  God  in  Christ  Jesus-- Philippians  3:13-14. 

When  the  speaker  is  upset  by  agitated  feeling  so  that 
his  will  cannot  gain  full  control,  but  is  half  submerged  in 
violent  passion  we  may  call  it  Tumultuous  volition.  The 
passionate  agitation  obstructs  the  will's  action,  so  that  it 
causes  a  violent,  interrupted  movement  of  will,— a  tumult. 

Wherefore  rejoice? 
What  conquests  brings  he  home? 
What  tributaries  follow  him  to  Rome, 
To  grace  in  captive  bonds  his  chariot  wheels? 
You   blocks,   you   si  ones,   you   worse   than   senseless 
things! 

And    darest   thou    then 

To  beard  the  lion   in  his  den 

The  Douglas  in  his  hall? 

King          For   I   shall   never   hold   that  man   my  friend 
Whose  tongue  shall  ask  me  for  one  penny  cost 
To  ransom  home  revolted  Mortimer. 
Hotspur    Revolted  Mortimer! 

He  never  did  fall  off- 
King  Sirrah,  henceforth 

Let  me  not  hear  you  speak  of  Mortimer. 
Send  me  your  prisoners  with  the  speediest 

means, 
Or  you  will  hear  of  it. 

(The  King  Leaves) 

Hotspur    And  if  the  devil  come  and  roar  for  them, 
I  will  not  send  them.    I  will  after  straight 
And  tell  him  so;  for  I  will  ease  my  heart, 
Although  it  be  with  hazard  of  my  head. 
Speak    of   Mortimer! 

Zounds,  I  will  speak  of  him,  and  let  my  soul 
Want  mercy,  if  I  do  not  join  with  him: 
Yea,  on  his  part  I'll  empty  all  these  veins. 
And  shed  my  dear  blood  drop  by  drop  in  the 

dust, 

But  T  will  lift  the  down-trod  Mortimer 
As  high  in  the  air  as  this  unthankful  king, 
As  this  ingrate  and  canker'd  Bolingbroke. 

Tn  tumultuous  volition  the  speaker's  whole  mind  and 
body  and  voice  is  shaken  by  the  violence  of  his  passion;  and 
the  tumult  is  increased  by  his  spurts  of  determination  that 
are  almost  choked  by  their  conflict  with  his  emotion. 


[188] 


LESSON  LVII 


1.  Bring  in  an  example  of  each  kind  of  volition. 

2.  Mark  the  kinds  of  volition  in  the  following  passages. 

I  am  Jehovah  thy  God,  who  brought  thee  out  of  the  land 
of  Egypt,  out  of  the  house  of  bondage.  Thou  shalt  have 
no  other  gods  before  me. — Exodus  20:2-3. 

The  eternal  God  is  thy  dwelling-place,  and  underneath 
are  the  everlasting  arms. — Dent.  33:27. 

Come  to  me,  and  I  will  give  thy  flesh  unto  the  birds  of 
the  heavens,  and  to  the  beasts  of  the  field. — I  Sam.  17:4i. 

NATHAN  REBUKES  KING  DAVID 

And  Nathan  came  to  David  and  said,  There  were  two 
men  in  one  city;  the  one  rich  and  the  other  poor.  The 
rich  man  had  exceedingly  many  flocks  and  herds;  which 
he  had  brought  and  nourished  up:  and  it  grew  up  together 
with  him  and  with  his  children.  And  there  came  a 
traveler  unto  the  rich  man,  and  he  spared  to  take  of  his 
own  flock,  but  took  the  poor  man's  lamb  and  dressed  it 
for  the  man  that  was  come  to  him.  And  David  said,  As 
Jehovah  liveth  the  man  that  hath  done  this  is  worthy  to 
die.  And  Nathan  said  to  David,  Thou  are  the  man. 

—II  Sam.  12:17. 

To  him  that  overcometh,  to  him  will  I  give  to  eat  of 
the  tree  of  life,  which  is  in  the  Paradise  of  God. 

—Rev.  2:7. 

And  what  shall  I  more  say?  for  the  time  will  fail 
me  if  I  tell  of  Gideon,  Barak,  Samson,  Jepthah;  of  David 
and  Samuel  and  the  Prophets:  who  through  faith  subdued 
kingdoms,  wrought  righteousness,  obtained  promises,  stop- 
ped the  mouths  of  lions,  quenched  the  power  of  fire,  escaped 
the  edge  of  the  sword,  from  weakness  were  made  strong, 
waxed  mighty  in  war,  turned  to  flight  armies  of  aliens. 

—Hebrews  11:32-34. 

You  sec  me  here,  you  gods,  a  poor  old  man, 
As  full  of  grief  as  age;  wretched  in  both! 
If  it  be  you  that  stir  these  daughters'  hearts 
Against  their  father,  fool  me  not  so  much 
To  bear  it  tamely;  touch  me  with  noble  anger; 
And  let  not  women's  weapons,  water-drops. 
Stain  my  man's  cheeks! — No,  you  untiatural  hags, 
T  will   have  such  revenues  on  you  both. 
That  all  the  world  shall — T  will  do  such  things, 
What  they  are,  yet  I  know  not;  but  they  shall  be 
[189] 


The  terrors  of  the  earth.    You  think  I'll  weep; 

No  I'll  not  weep: 

I  have  full  cause  of  weeping;  but  this  heart 

Shall  break  into  a  hundred  thousand  flaws 

Or  e'er  I'll  weep;— 0  fool,  I  shall  go  mad! 

— King  Lear. 

The  king  is  come  to  marshal  us,  in  all  his  armor  dressed, 
And  he  has  bound  a  snow-white  plume  upon  his  gallant 

crest. 

He  looked  upon  his  people,  and  a  tear  was  in  his  eye; 
He  looked  upon  the  traitors,  and  his  glance  was  stern  and 

high. 
Right  graciously  he  smiled  on  us,  as  rolled  from  wing 

to  wing, 
Down  all  our  line,  a  deafening  shout— "God  save  our  lord 

the  king!" 

"And  if  my  standard-bearer  fall,  as  fall  full  well  he  may 
For  never  saw  I  promise  yet  of  such  a  bloody  fray — 
Press  where  ye  see  my  white  plume  shine  amidst  the  ranks 

of  war, 
And  be  your  oriflamme  today  the  helmet  of  Navarre." 

Hurrah!  the  foes  are  moving.     Hark  to  the  mingled  din 

Of  fife,  and  steed,  and  trump,  and  drum,  and  roaring 
culverin. 

The  fiery  duke  is  pricking  fast  across  Saint  Andre's  plain, 

With  all  the  hireling  chivalry  of  Guelders  and  Almayne. 

Now  by  the  lips  of  those  ye  love,  fair  gentlemen  of  France, 

Charge  for  the  golden  lilies  now— upon  them  with  the 
lance! 

A  thousand  spurs  are  sticking  deep,  a  thousand  spears  in 
rest, 

A  thousand  knights  are  pressing  close  behind  the  snow- 
white  crest; 

And  in  they  burst,  and  on  they  rushed,  while,  like  a  guid- 
ing star. 

Amid  the  thickest  carnage  blazed  the  helmet  of  Navarre. 

— Macaulay. 

Said  a  dealer  in  stocks  to  an  honest  clerk  in  a  com- 
mercial house:  "For  a  wink  I  will  make  you  rich.  You 
must  knowr  the  purpose  of  your  great  corporation.  Is 
your  firm  about  to  purchase  this  new  road?  You  need 
riot  speak  a  word,  that  you  may  be  able  to  say,  'I  have 
never  spoken  to  any  one  of  the  secrets  of  the  house.'  Wink, 
and  I  will  secure  to  you  $100,000." 

"I  cannot;  honor  is  everything;  nothing  can  compensate 
for  loss  of  soul-value." 


[190] 


LESSON  LVIII 


1.  Mark  the  different  ki'nds  of  feeling  in  this  story. 

2.  Mark  the  different  kinds  of  volition  in  it. 

3.  Read  it  aloud  showing  these  fully. 

IN  THE  TIGER  JUNGLE 

It  was  in  September,  1863.  I  was  taking  a  long  explor- 
ing, preaching,  and  Bible-distributing  journey  of  twelve 
hundred  miles  on  horseback,  through  a  region  regarded 
as  exceedingly  dangerous. 

We  had  been  kept  awake  through  the  night,  more  than 
once,  by  the  roaring  of  the  tigers  around  our  camp  in  the 
jungle,  as  we  heaped  wood  and  brush  upon  our  camp- 
fires  all  night  long,  lest  there  be  ho  one  to  tell  the  tale  in 
the  morning.  We  were  to  find  a  Government  steamer 
when  we  struck  the  river.  We  reached  the  river  but  no 
steamer  was  there.  The  heavy  torrents  had  mnde  the 
Godavery  three  miles  wide.  We  must,  then,  march  through 
that  seventy-five  miles  of  jungle  to  reach  the  next  steamer 
at  the  foot  of  the  seco'nd  cataract. 

I  need  not  stop  to  recount  the  exciting  episode  of  our 
desertion  by  the  whole  party  of  carriers,  nor  of  our  des- 
perate efforts,  finally  successful,  to  cross  the  Godavery's 
three  miles'  flood,  in  order  that  we  might  reach  a  large 
town  of  the  Nizam's  dominions,  the  headquarters  of  a 
sort  of  deputy  governor,  of  whom  I  hoped  to  obtain  help. 

He  politely  told  me  that  it  was  an  utter  impossioility; 
that  at  this  seasdn  of  the  year,  with  the  fever  so  deadly, 
tigers  so  ravenous,  and  the  floods  and  back-waters  from 
the  river  damming  the  way,  no  coolies  could  be  induced  to 
go  through. 

I  took  from  my  pocket  a  long  parchment  in  which  the 
Nizam  ordered  any  of  his  officials  to  render  any  assistance 
I  should  call  for.  under  the  highest  penalties  for  non-- 
performance. The  moment  he  saw  the  great  royal  seal  he 
shouted  to  his  attendants,  and  in  an  incredibly  short  time 
forty-four  bearers  appeared. 

T  separated  them  into  four  squads  of  eleven  men  each, 
with  one  of  my  native  preachers  in  charge  of  each  party. 
The  two  royal  guides  of  the  region  had  been  ordered  to 
guide  us  through,  were  promised  a  high  reward,  and  had 
sworn  faithfulness. 

Tn  spite  of  all  my  precautions,  T  felt  very  suspicious 
that  an  effort  would  be  made  to  desert  us  and  was  on 
constant  watch.  Cantering  by  the  whole  line,  where  the 
width  of  the  path  allowed,  I 'would  stop  at  the  front  and 

[191] 


watch  and  count  every  man.  and  bundle,  until  all  had 
passed,  and  then  canter  on  ahead,  again.  So  we  went  on 
hour  after  hour,  halting  only  for  an  hour  for  lunch  at 
midday. 

Late  in  the  afternoon  we  met  two  daring  huntsmen  who 
had  beeji  down  to  a  point  two  miles  beyond,  (o  inspect 
their  traps,  and  were  on  the  full  run  back  to  shelter  for 
the  night. 

We  halted  them  to  inquire  of  the  region  ahead.  We 
knew  that  some  two  miles  in  front  was  an  affluent  of  the 
Godavery,  which  we  had  expected  to  ford  and  pitch  our 
camp  for  the  night  on  an  open  knoll  a  little  distance  beyond 
it,  where,  with  bright  camp-fires  and  watchfulness,  we 
could  pass  the  night  in  comparative  safety.  But  from 
these  hunters  we  learned  that  the  back-water  of  the  Go- 
davery flood,  which  was  thirty  feet  higher  than  usual,  had 
made  these  streams  absolutely  unfordable. 

"Is   there   no   boat?" 

"None." 

"No  material  for  a  raft?" 

"None  whatever." 

And  dn  the  hunters  dashed  for  safety.  \Vy  were  march- 
ing about  a  mile  to  the  south  of  the  Godavery  and  parallel 
with  it. 

"Guides!"  "Is  there  no  knoll  on  this  side  that  wo  can 
pitch  on?" 

"No,  from  river  to  bluff  is  all  like  this." 

In  an  hour  it  would  be  sunset.  I  said  not  a  word  to  my 
assistants,  but  I  spake  to  God.  "Master!  was  it  not  for  thy 
sake  that  we  came  here?  Didst  thou  not  promise  'I  will  be 
with  you'?  Now  we  need  thee.  We  are  in  blackest  danger 
for  this  night.  Only  thou  canst  save  us  from  this  jungle, 
these  tigers,  this  flood.  0  Master!  show  me  what  to  do." 

An  answer  came;  not  audible,  but  a  thought  as  distinct 
as  though  spoken  in  my  ear  by  human  voice;  "Turn  to 
the  left,  to  the  Godavery,  and  you  will  find  rescue."  Riding 
rapidly  forward,  I  overtook  the  guides.  "How  far  is  it  to 
the  Godavery?1' 

"A  good  mile." 

"Is  there  no  village  on  its  bank?" 

"No,  none  within  many  miles;  and  the  banks  are  all 
overflowed." 

"Is  there  no  mound  nor  rising  ground  on  which  we 
could  camp  out  of  this  water?" 

"It  is  all  low  and  flat,  like  this." 

"Think  well.  Is  there  no  dry  timber  of  which  we  could 
make  a  raft?" 

"If  there  were  any  it  would  all  be  washed  away  by 
floods." 

"Is  there  no  boat  of  any  sort  on  the  river?  I  have 
authority  to  seize  anything  I  need." 

"None  nearer  than  the  cataract." 

[192] 


"How  long  would  it  take  us  to  reach  the  Godavery  by 
the  nearest  path?" 

"Half  an  hour;  but  it  would  be  so  much  time  lost,  for 
we  would  have  to  come  back  here  and  cut  our  way  through 
this  jungle  to  the  bluff,  and  climb  that." 

"How  long  would  it  take  to  cut  our  way  through  to 
the  bluff?" 

"At  least  six  hours,  and  it  will  be  dark  in  an  hour." 

"What  shall  we  do  for  to-night?" 

"God  knows,"  and  they  looked  the  despair  that  they 
felt. 

I  drew  aside  again,  and  prayed  as  I  rode  on.  "Turn  to 
the  left,  to  the  Gpdavery,  and  you  will  find  rescue,"  came 
the  same  suggestion  again.  It  was  not  audible,  but  to  me 
it  was  as  distinct  as  though  spoken  by  a  voice  in  my  ear. 
It  thrilled  me.  "God's  answer  to  my  prayer,"  said  I.  "I 
cannot  doubt,  I  must  act,  and  that  instantly." 

Hastening  forwa-rd  to  the  guides  at  the  head  of  the 
column,  "Halt!"  said  I,  in  a  voice  to  be  heard  by  all.  "Turn 
sharp  to  the  left.  Guides!  show  us  the  shortest  way  to 
the  Godavery.  Quick!"  They  remonstrated  stoutly;  that 
it  was  only  labor  lost,  that  we  should  be  in  a  worse  plight 
there  than  here,  for  the  river  might  rise  higher  and  wash 
us  away  in  the  darkness  of  the  night.  "Obey!"  said  I. 
"March  sharp,  or  night  will  come.  I  am  master  here,  and 
intend  to  be  obeyed.  Show  the  way  to  the  river."  They 
glanced  at  the  fourteen-inch  revolver  that  I  held  in  my 
hand,  ready  for  any  beast  that  should  spring  upon  us,  they 
suspected  that  it  might  be  used  on  something  besides  a 
beast,  and,  one  saying  to  the  other,  "Come  on  we've  got  to 
go,"  started  on. 

All  the  party  had  surrounded  me.  My  native  preachers 
looked  up  inquiringly  at  my  awed  face.  "There  is  rescue 
at  the  river,"  was  all  I  said.  How  could  I  say  more?  Prov- 
identially, we  had  just  come  to  where  an  old  path  led  at 
right  angles  to  our  former  course  and  directly  towards  the 
river,  and  down  that  path  we  went.  The  step  of  all  was 
quicker  than  before,  "The  Dhora  has  heard  of  some  help 
at  the  river,"  I  overheard  the  coolies  say  to  one  another. 
I  had  heard  of  help;  but  what  it  was  I  knew  not.  Half  a 
mile  from  the  river  I  spurred  forward  past  the  guides. 
I  knew  the  coolies  won  Id.  not  desert  me  now.  There  was 
no  place  for  safety  that  they  could  reach  for  the  night. 

I  cantered  out  from  among  the  bushes  to  the  bank. 
There  right  under  my  feet,  was  a  large  flat-boat,  tied  to  a 
tree  at  the  shore,  with  two  men  upon  it  trying  to  keep 
it  secure  in  the  rising  and  falling  current. 

"How  did  this  boat  get  here?"  said  I. 

"Oh,  sir,  don't  be  angry  with  us,"  said  the  boatmen, 
taking  me  to  be  an  officer  of  the  British  India  Government, 
and  thinking  I  was  taking  them  to  task  for  not  keeping  the 
boat  on  its  proper  station:  "we  tried  our  best  to  keep  the 

[193] 


boat  from  coming  here,  but,  sir,  it  seemed  as  though  it 
was  possessed.  This  morning  we  were  on  our  station 
yvhen  a  huge  wave  snapped  the  ropes  and  swept  the  boat 
into  the  current.  We  did  our  utmost  to  get  it  back  to  that 
bank  of  the  river,  but  an  hour  ago  we  gave  up  and  let  it 
float  in  here  and  tied  it  up  for  safety  to  this  tree.  Don't 
have  us  punished  for  letting  it  come  here,  as  soon  as  the 
river  goes  down  we  will  get  the  boat  back  where  it  be- 
longs." 

"All  right  my  men,"  I  shall  use  the  boat  and  reward  you 
well,  and  give  you  a  letter  to  your  superior  that  will  clear 
you  of  all  blame." 

The  boat,  a  large  flat-boat,  with  strong  railings  along 
both  sides,  and  square  ends  to  run  upon  the  shore  had  been 
built  by  the  British  military  authorities  in  the  troublous 
times  following  the  mutiny.  These  men  were  paid  monthly 
wages  to  keep  it  always  ready,  at  its  station,  in  case  of 
sudden  need. 

We  pitched  our  long,  low  tent  upon  the  boat,  and  made 
a  secure  abode  for  the  night,  and  within  it  the  whole  party 
were  able  to  gather,  with  all  the  baggage.  Before  dark  all 
hands  had  gathered  a  sufficiency  of  wood  and  brush  to 
keep  a  bright  camp-fire  burning  through  the  night  on  the 
shore,  and  I  sat  watching  at  the  shore-e!nd  of  the  boat, 
pistol  in  hand,  through  the  night,  lest,  in  spite  of  the  fire 
a  tiger  should  try  to  spring  on.  We  heard  their  roaring 
and  snarling  in  the  bushes  near  at  hand,  but,  "He  shall  give 
his  angels  charge  over  thee,  to  keep  thee  in  all  thy  ways," 
was  the  thought  that  kept  running  through  my  mind  after 
we  had  read  the  ninety-first  Psalm  in  the  beautiful  Teloo- 
goo  language,  and  offered  up  prayers  of  thanksgiving,  and 
praise  to  the  Most  High,  under  the  shadow  of  whose  wings 
we  were  abiding. 

I  have  tried  to  give  a  vivid  picture  of  the  events  of  that 
day;  but  nothing  can  equal  the  vivid  consciousness  we 
had  that  day  of  the  presence  of  the  Master. 

Some  who  have  not  tested  it  may  sneer  and  doubt,  but 
we  five  know  that  God  hears  prayer. — Jacob  Chamberlain. 


[104] 


LESSON  LIX 


All  sounds  are  either  tones  or  noises;  that  is  they  are 
either  musical  and  pleasant,  or  rough  and  harsh.  Tones, 
or  musical  sounds,  will  travel  a  long  way;  noises  shatter 
and  soon  fall  to  pieces.  If  you  rose  above  a  fair-ground 
in  an  aeroplane,  the  noise  and  clatter,  which  drowned  out 
the  music,  would  die  away  as  you  rose  higher,  and  the  pure 
musical  tones  of  the  violin  would  still  be  heard  long  after 
the  noises  had  faded  into  silence. 

When  you  enter  a  large  hall  and  someone  is  speaking, 
the  first  thing  you  notice  about  his  voice  is  whether  it  can 
be  heard  easily;  whether  it  has  what  is  called  "carrying 
power"  or  "penetrating  power."  This  does  not  depend 
wholly  upon  force  or  loudness  of  voice,  any  more  than 
throwing  a  ball  to  a  certain  spot  depends  merely  on  the 
force  used.  Of  course,  you  must  use  some  force,  but  it 
takes  also  the  skill  that  comes  from  long  practice.  The 
speaker  must  know  how  to  aim  his  tones,  and  reach  this  or 
that  person  as  he  desires;  not  by  sweeping  his  words  out 
fiercely,  but  rather  by  thinking  of  the  exact  spot  where 
he  wants  to  drop  them  gently.  Byron  W.  King  says  very 
suggestively:  "The  proper  sensation  when  making  the  best 
tones  for  speaking,  is  that  of  drawing  the  sound  into  the 
throat — not  of  forcing  out,  as  is  the  prevailing  theory.  The 
proper  sensation  is  as  swallowing.  Do  not  try  to  throw 
the  voice  to  a  certain  point  or  person;  rather  try  to  draw 
it  from  that  point  to  you." 

This  penetrating,  or  carrying  power,  or  reach  of  voice, 
depends  largely  (1)  on  how  musical  your  words  are;  on 
whether  you  have  by  persistent  practice  formed  the  habit 
of  making  every  vowel  a  pure  tone, — clear,  open,  resonant, 
bell-like  (not  breathy,  nor  nasal,  nor  throaty,  nor  snipped 
off  before  it  is  fully  formed) ;  and  (2)  on  how  accurately, 
and  distinctly,  and  delicately  you  articulate  the  consonants. 
(See  exercises  31  and  38.) 

Sound  fully  and  purely  the  vowel  sounds  in  Tennyson's 
epitaph  on  Sir  John  Franklin  who  was  lost  in  the  Arctic  re- 
gions while  searching  for  the  North  Pole. 

[195] 


Not  here!  The  white  north  has  his  bones; 

And  thou,  heroic  sailor  soul, 
Art  passing  on  thy  happier  voyage  now, 

Toward  no  earthly  pole. 

and  these  that  Shakespeare  put  into  the  mouth  of  Cassius: 

Age,  thou  art  sharped! 

Rome,  thou  hast  lost  the  breed  of  noble  bloods! 
When  went  there  by  an  age,  since  the  great  flood, 
But  it  was  famed  with  more  than  with  one  man! 

By  careful  observation  you  may  notice  that  every  tone 
has  three  properties,  (which  you  can  think  of  apart,  though 
they  are  in  fact  all  fused  together). 

1.  Force,  or  loudness,  or  pressure. 

2.  Pitch,  higher  or  lower  on  the  musical  scale. 

3.  Quality,  or  tone-color,  or  texture  of  tone. 

The  voice  may  vary  through  a  very  wide  range,  depend- 
ing in  actual  use,  of  course,  upon  the  meaning  and  feelings 
of  the  speaker. 

A  word  should  be  said  even  in  an  elementary  text- 
book, about  the  melodies  of  speech.  These  are  not  so 
noticeable  as  the  melodies  of  song,  because  in  singing 
we  hold  the  tones  a  definite  time  at  each  interval  of  pitch, 
while  speaking,  the  notes  are  not  held,  but  are  allowed  to 
vanish.  So  while  song  is  a  series  of  tones,  speech  is  a 
series  of  vanishes. 

But  if  while  you  are  speaking,  you  hold  a  tone  here 
and  there,  that  is,  prolong  it  till  you  notice  the  pitch  in- 
stead of  letting  it  vanish,  you  will  notice  that  in  ordinary 
free  conversation  there  is  a  very  wide  interval  between 
the  highest  and  lowest  pitch  used,  often  more  than  an 
octave.  When  excited,  or  embarassed,  the  intervals  are 
closer  and  sometimes  become  almost  a  monotone. 

One  of  the  secrets  of  effective  speaking,  pleasant  to  the 
audience  and  easy  for  the  speaker,  is  to  use  these  wide 
conversational  melodies  all  the  time,  whether  you  are 
talking  to  an  audience  of  three  or  three  hundred.  If  you  do 
not  constantly  test  yourself  by  saying  the  sentences  as  if 
to  one  or  two  hearers,  you  are  likely  to  "roll  it  off"  in  a 
so-called  oratorical  tone,  which  swings  up  and  down  with 
as  little  variation  as  a  merry-go-round. 


[196] 


LESSON  LX 


It  will  perhaps  be  helpful  to  consider  the  matter  of 
Criticism.  Some  people  confuse  criticism  with  censure, 
but  a  critic  is  not  merely  censorious,  when  he  judges.  Ho 
appreciates  the  good  as  much  as  he  rejects  the  bad.  Crit- 
icism should  always  be  constructive.  Its  purpose  is  to 
help  people  towards  improvement,  and  it  is  impossible  to 
help  people  without  encouraging  them.  For  criticising 
one's  own  work,  and  observing  the  speaking  of  others,  a 
chart  or  outline  is  convenient.  It  helps  to  keep  in  mind 
the  whole  field,  when  otherwise  some  important  parts  of 
it  might  be  overlooked. 

I.  General  Impression. 

1.  The  speaker's  personality — 

Can  he  be  heard  easily? 

Does    he    command   your   respect,    or    is    he    self- 
conscious,  conceited,  woodeny,  weak? 
Does  he  win  your  liking?  Natural  or  affected? 

2.  His  interest  in  his  subject — 

Has  he  mastered  it,  or  is  his  knowledge  shallow? 
Is  he  so  interested  in  his  subject  as  to  forget  him- 
self? 

3.  Has  he  pleasure  in  meeting  his  hearers? 

Is  he  hearty?  or  cold  and  half  indifferent? 

II.  Mastery  of  His  Instrument. 

Feet  Attitudes— free?  expressive?  consistent? 
Gesticulation— unobtrusive?  significant? 
Voice — Strong?  clear  and  resonant?  well  aimed? 

Distinct  articulation? 

Pure,  or  nasal?  hard  and  throaty?  muffled?  lip-lazy? 
high  pitch?  too  loud?  thin? 

Has  he  conversational  melodies? 

III.  His  Interpretation. 

Does  he  group  well?  or  crowd  his  words  raggedly? 
Does  he  subordinate  lesser  things  to  the  main 
thought? 

Do  his  inflections  show  accurate  thought?  Is  his 
thinking  alive  while  speaking?  or  memorized  and 
rattled  off? 

[197] 


Does  he  speak  with  feeling,  or  as  if  it  was  all  multi- 
plication table? 

Does  he  enter  into  varied  emotions? 
Is  his  emotion  genuine? 

Is  his  expression  of  emotion  delicate,  or  "laid  on 
with  a  trowel?" 

Does  he  use  enough  force  or  pressure?  too  much? 
Does  he  "bull-doze"  the  hearers? 

SOME   PRIVATE  SUGGESTIONS 

Be  in  Earnest,  have  a  clear  conception  of  your  sub- 
ject, dwell  on  it  in  private  till  it  kindles  your  imagination 
deeply  and  stirs  your  feeling.  Do  not  speak  till  you  have 
a  strong  desire  to  make  your  hearers  see  it  and  feel  it  as 
you  do. 

Dr.  Nehemiah  Boynton  says  the  three  essential  ele- 
ments of  speech  are  Point,  Picture,  Passion. 

Similar  qualities  have  been  suggested  in  Proving, 
Painting,  Persuading. 

Keep  the  mouth  shut,  and  breathe  through  the  nose. 
Do  not  be  afraid  of  fresh  air.  Use  plenty  of  cold  water 
on  the  throat  morning  and  night;  drink  plenty  of  cold  water 
night  and  morning.  Do  not  suck  a  lemon  before  speaking, 
the  acid  will  cut  the  phlegm,  but  it  puckers  the  mucous 
lining  of  the  pharynx.  Do  not  cough;  inhale  and  moisten 
the  throat  with  saliva.  Never  use  sprays  or  atomizers  in 
nose  and  throat. 

Sore  Throat.  Follicular  Pharyngitis  (sometimes  called 
clergymen's  sore  throat)  is  not  caused  by  catching  cold, 
but  by  wrong  use  of  the  voice.  The  neck  muscles  which 
should  be  relaxed,  are  contracted  and  thus  compress  the 
pharynx  and  strain  the  larynx.  The  speaker  first  notices 
a  dryness  of  the  pharynx,  then  perhaps  huskiness  and  a 
slight  coughing.  Later  the  mucous  lining  may  have  folli- 
cles or  even  small  ulcers.  Do  not  swab  the  throat  or  take 
cough  drops,  but  consult  a  skilful  physician,  though  he 
cannot  cure  your  bad  method  of  speaking.  As  soon  as  the 
congestion  is  relieved,  practice  the  voice  building  exer- 
cises (numbers  5  to  20). 

Nasality.  The  sounds  "m,"  "n,"  and  "ng"  should  go 
through  the  nose,  other  sounds  should  not.  Hold  the  nose 
and  say  words  in  which  "m,"  "n,"  and  "ng"  do  not  occur;  if 
there  is  no  nasality  the  sound  will  be  clear  and  correct.  In 

[198] 


speakers  afflicted  with  this  unpleasant  habit,  the  soft 
palate  and  uvula  falls  down  upon  the  back  of  the  tongue. 
To  overcome  nasal  utterance,  Warman  says:  strengthen 
the  "pillars"  supporting  the  soft  palate,  by  holding  the  nose 
and  practising  short  sentences  with  no  sounds  of  "m,"  "n,M 
or  "ng."  Aim  the  tone  at  the  far  corner  of  the  room. 

Art  thou  ready.    Take  the  boy. 

Go,  false  fugitive,  arise,  away! 

How  precious  are  thy  thoughts  0  Lord! 
and  Seiler  advises:  Pronounce  open  vowels  like  "ah"  and 
"oh,"  with  the  consonants  that  are  formed  farthest  forward 
in  the  mouth. 

(See  especially  exercises  33,  36,  and  38.; 
Bell  says:  Sound  the  consonants  "mb"  without  separating 
the  lips,  as  in  pronouncing  the  word  "ember.1'  The  change 
from  "m"  to  "b"  is  nothing  more  than  the  covering  of  the 
nasal  aperture  by  the  soft  palate;  and  the  change  from  "b" 
to  "m,"  without  separating  the  lips,  as  in  the  word  "submit;' 
is  merely  the  uncovering  of  the  nasal  aperture. 

All  these  suggestions  are  excellent.  Persons  subject  to 
catarrh  will  find  it  more  difficult  to  overcome  nasality 
than  those  with  healthy  organs.  But  these  exercises  will 
overcome  it,  and  perhaps  cure  the  catarrh. 

Stammering.  Breathe  deeply  and  quietly.  Be  calm  and 
unhurried.  Have  each  thought  vividly  in  mind  before  be- 
ginning the  sentence.  If  your  tongue  balks  on  a  word,  do 
not  try  to  force  it,  but  express  the  thought  in  other  words. 
Practice  especially  exercises  5  to  20,  and  30  to  33. 


[199] 


EXERCISES 

1.  Arms  extended  front— spread  (level  with  shoulders.) 

2.  Arms  down  at  sides— up  sideways. 

3.  Arms  down  at  sides — up  in  front.  [haling. 

4.  Arms  down — up  sideways,  slowly  inhaling;  down  ex- 

5.  Diaphragm  Breathing — upper  chest. 

6.  Diaphragm  Breathing — abdomen. 

7.  Diaphragm  Breathing — sides. 

8.  Diaphragm  Breathing — back. 

9.  Inhale  slowly,  stretching  all  at  once;  exhale  easily. 

10.  Inhale  slowly;  exhale  quickly,  chest  still  up. 

11.  Inhale  quickly;  exhale  easily. 

12.  Thrust  abdominal  walls  out,  and  draw  in. 

13.  Thrust  diaphragm  down,  lower  abdomen  passive. 

14.  Thrust  diaphragm  down,  contract  abdom.  muscles. 

15.  Chest  up;  inhale  slowly;  blow  strongly  through  lips. 

16.  Inhale  slowly;  exhale  while  saying  "ah." 

17.  Inhale;  say  "ah,"  stretching  waist  all  the  time. 

18.  Inhale;  say  "oh-oh-oh-oh,"  diaphr.  and  abdom.  tense. 
10.  Same,  giving  "ah"  on  each  degree  scale,  up  and  down. 

20.  Same,  giving  numbers  1  to  10  on  each  degree. 

21.  Foot  and  Ankle,  shake  passive. 

22.  Fingers  and  Hands,  shake  passive. 

23.  Knee,  standing  on  block,  raise  and  drop. 

24.  Stretch  arms  and  torso,  tiptoe. 

25.  Hip  and  -Leg.  On  block,  relax  free  leg,  rise. 

26.  Shoulder  and  Arm.    Spring  on  toes,  fling  arms. 

27.  Poise.    Change  right  to  left,  etc.,  hips  leading. 

28.  Test  poise— point  toe  forward  and  backward. 

29.  Neck.    Elbows  on  knees,  shoulders  drag  head. 

30.  Jaw  and  Lip.    Shake  vertically  and  laterally. 

34.  Sing  fo-fa-fa  up  and  down  scale,  stretching  waist. 

32.  Sing  thus  fo-fa-fa-fa-fa,  waist  tense,  jaw  relaxed. 

33.  Sing  thus  pro-ta-ta-fa-ta-ta-ta-ta-ta,  jaw  and  lips. 

34.  Sentences  rapidly  and  distinctly,  jaw  and  lips. 

35-  Depress  tongue,  lift  uvula,  yawn,  and  sing  "ah"  up  scale. 

36.  Waist  tense,  uvula  up,  jaw  flex.,  pa-ba-ma-fa-ta-la-ra- 

[sa. 

37.  Shake  larnyx,  initial  k,  kkk,  koo,  koo,  koo-koo-koo. 

38.  Yawn,  close  lips,  m-m-m,  m-a,  m-oo,  m-o,  m-e,  m-i. 


[200] 


EXAMPLES  FOR  FEET  ATTITUDES 


[201] 


EXAMPLES  FOR  GESTICULATION 


[202] 


EXAMPLES  OF  GOOD  PERSUASION 


[203] 


LIST  OF  GOOD  SELECTIONS  TO  READ 


[204] 


INDEX 


Accept                       

TOO 

.96 
.  95 
1  66 
58 

76 
73 
49 
91 
182 
98 
119 
119 
152 

•  76 
62 
114 
84 
178 
1  66 

121 

156 

140 

115 

156 

98 
76 
138 

167 
134 

100 

127 

.  99 
130 

15 
129 
ir 
150 
134 
83 
163 

"Courtesy.  General  Howard's"  .   . 
"Cowboy  with  Salt,  The"  .   .   .    .   . 
"Crime,  its  own  Detector"    .  .   .   . 
Criticism    
"Crossing  the  Bar"  
"Cuban  Situation,  The"  
Cumulative  Completeness    .   .   .   . 

"Daffodils,   The"   ......... 
"David  and  Goliath"   .    
"Dawn"  . 
"Death  of  Paul  Dombey"  .    .    .    .    . 
Decline 

26 
"5 
70 

197 
27 
123 
127 

12 

2Q 

148 
157 
96 
69 

99 

8 

99 
181 
17 
126 
.64 
.  61 

137 
195 
146 
132 

200 
184 
21 
129 
76 

137 
,  76 
I69 
163 

61 
182 

179 
176 

88 
173 
25 

93 

65 

Acquire    
Affirm    ....       
Agitated  Feeling   ....          .   .   . 

Anger                          .   .              .  150 

Animation                                        .   . 

Antagonism  .   .       .    
Antony's  Oration  ......... 
"Apollyon"                                     .    . 

"Arnold  in  the  library"      .   .    .    . 
Assail   
Assertion  .    .   . 
Assumption  

Deference      .       ... 

Define  

Bearing    65,  69,  73 
"Beecher  and  Ingersoll"   
"Believing  or  Understanding?"    . 
"Bernado  del  Carpio" 
"Boy  Tenant,  The"  ... 
"Break,  Break,  Break" 
"Breathes  there  the  man" 
Breathless  Feeling   
"Bright's  Speech"    .    . 
"Brotherly  Jew,  The"    
"By  land  and  sea  I  travelled  wide" 

Caress  
Carriage   65,  69,  73 

Delivery        .        

Detect  
Determination  40,  62, 
Diaphragm  
Discrimination   .....  38,  58,  67, 
"Drowned  Skipper,  The"  .... 
"Drummer  Boy,  The"  

Emotion  40,  61,  67, 
"Epitaph  on  Sir  John  Franklin" 
Exalted  Feeling    

Exclamation    (. 

Expanding  Pressure  
Expansive  Paraphrase    
Expectation    
Explosion    

Feelings   40,  42,  61,  67, 
Feet  Attitudes      .....  67,  69,  73 
"Fezziwig"   
Fierceness    
"Firedrill"    
Firmness   
"Fisherboat  Run  Down,  The"    .    . 
"Fisherman,  A"     
"Flavius  and  Marullus"    
"Forger  Forgiven,  The"   
"Fred  Evans  in  the  Mine"  .   .    .    . 

Gesticulation  65, 
Gesture  

"Charm,  Iyticy  Stone's"  
"Christian's  Fight  With 
Apollyon"    ......... 
"Christmas  Dinner,  The"     .   .    . 
Circumflex     
Combination  of  Gestures  
Completeness  
Conceal    . 
Concession 

Condensative  Paraphrase 
Condition    
"Considerate  Physician,  The"    .   . 
Contempt          .   . 

Contrast  
"Courage  or  Bravado?"  ...... 
"Courageous  King,  A" 

[205] 


"Gettysburg  Address,  The"  ...  32 
"Gladstone's  Miniature''  .....  162 
"Glasgow  Errand  Boy,  The"  .  .  .177 
"Glover's  Apprentice,  The"  .  .  .183 
"Goldminer's  Luck,  The"  ....  86 
"Gradgrind's  Idea  of  Education'1  79 

Grief 166 

"Grizzlies,  Four  Little"  .....  139 
Grouping  . 


Nasality 198 

"Navarre" ••....  190 

"Night  Has  a  Thousand  Eyes"    .  114 


Hardness   . .  150 

Haughtiness •   •    .    .    .  150 

Hesitation 70,  130 

"Honor  of  George  G.  Lake,  The"  176 
"Hospitable  Grumbler,  A"      ...    24 

"House  Snake,  The" 59 

"Howard,  General" 26 

Impulsive  Volition 181 

"In  the  Tiger  Jungle'' 191 

Indicate 94 

Inflection 126 

Inquire 98 

Insistence 182 

Intensity 163 

Interpretation 6,  7 

"Jean  Valjean" 142 

"John  Maynard" 10^ 

"Joseph  Meets  Benjamin"   ....  171 

Judging  Speakers 197 

"Juggler,  The  Hindu"    ......  153 

"Kindness  of  Boaz,  The" 172 

"King,  A  Courageous" 163 

"Last  Duchess,  My" 179 

"Liberty  and  Union"  .......  135 

"Lincoln  and  the  Dying  Boy"   .    .162 
"Lincoln's  Second  Inaugural 

Address" 117 

"Lochinvar"'    .  46 


"O'Connell"  .  .  ... 
"Old  Rose  Blouse,  The 
"Opportunity" 


172 
160 

27 


Paraphrase  .........    15.  21,  67 

"Patrick  Henry's  Address"    .    .    .    18 
"Patrick  Sweeny"       .   .....       63 

"Peter  the  Great"    ........    63 

"Physician,  The  Considerate"  .    .    n 
Pitch    .............  58,  126 

"Policeman  Griffenhagen"  .   ...    84 

"Power  of  the  People,  The"   .   .    .140 
Presentation   .    37,  57,  67,  102,  106,  no 
Pressure  of  Tone  .    .    .62,  181,  184,  187 
Protect    ..............  100 

"Providential  Guest,  The"  .   ...      9 

"Psalm  100"    ...........  173 

Psychology  of  Speech    .        ....    37 

Pure  Tone    ...     .    .    .......  138 

Purpose  ..............    34 

Quality  of  Tone.  .  .61,  138,  146,  150 
"Quality  of  Mercy,  The"  .....  39 
Question  .............  132 

"Ratcatcher,  The  Brazilian"  ...    59 
Rate  of  Speaking   .......  57,  102 

Reach  of  Voice    ..........  195 

"Reading  Signs"   .........  133 

Reasoning    .......  38,  58,  67,  126 

"Recessional"    ..........  154 

Recoil  ...............    74 

Reject  ...............    96 

Repose    .....    .........    73 

Reproof   ............  73.  150 

Reveal    ..............    95 

"Rich  for  a  Wink"    ........  190 

"Robinson  Crusoe's  Fright"  .    .    .  152 


Majestic  Volition 187 

"Mark  Antony's  Speech"    ....    49 

"Marmion  and  Douglas" 74 

"Meeting  at  Night" 177 

Merriment T66 

Momentary  Completeness;  ....  127 
Moods  .    .  34,  37,  42,  56,  57.  67,  102,  108 

Mould 99 

"My  Iyast  Duchess" J79 


Score  Card 197 

Seeing 137-  15& 

"Signs,  Reading"     133 

Sore  Throat 198 

"Spartacus  to  the  Gladiators"    .    .    43 

Stammering 199 

Stedfastness 70 

Stealthiness 159 

Stern  Feeling 150 


[206] 


"Stone,  lyiicy"    .    .    . 
"Street  Car,  On  a"  . 
Stress  
Suggestions  

138 
24 

.  62.  iHi,  184,  187 
....  198 

"Sunrise"  
Surrender  
Swaggering  
"Symphony,  My"  .    . 
"Sweeny's  Courage" 

Tenderness       .    . 

148 
96 
69 
28 
63 

162 

Texture  of  Tone 

196 

"Tiger,  The"  .... 
Tone-color    
Transition    

159 
196 

'True  Kings  of  the  Earth,  The"  .    15 


"Trusting  the  Guide''    ......  153 

Tumultuous  Volition 188 

Types  of  Utterance,  see  Moods  of. 

...  34,  37,  42,  56,  57,  67,  102,  108 

Uphold 98 

Uplifting  Volition 184 

"Valjean,  Jean" 142 

"Vase.  The  Unbroken" 58 

Voice,  Reach  of,  Power  of    ....  195 
Volition  . 40,   62,  67,  181 

"Waterloo" 57 

Weariness 156 

"Welcome  to  Alexandra"    ....  185 

"Witness  Caught,  The"     59 

"Wolsev's  Farewell"  .  12 


[207] 


THIS  BOOK  IS  DTTE  ON  THE  LAST  DATE 
STAMPED  BELOW 


AN  INITIAL 


25  CENTS 


NOV  26  1935 

— 

^WA¥-iajflffl 


r 


LD  21-ioOm-7,'33 


393942 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


